Mr. Cadwallader shouting “murder” out of the window at the studio of Mr. Pimpernel, the portrait-painter; the Pimpernels restraining him, and the scandaliser of the artistic neighbourhood seizing hold of the curtains, and the united strength of the family hanging on to his coat-tails; the curtains give way, and the poste of people are sent sprawling.--From “More Mornings at Bow Street.” Gardens--all put forth before the year 1810--are interesting, not for any remarkable artistic merit in them, but as indicating the active intelligence and alert life of the boy. Directly afterwards we have distinct evidence of the latent whim, humour, and fancy which were to carry young Cruikshank to a place in the art history of his country, equal at least to that of the poor demented genius who was wearing out his remnant of life in old Mrs. Humphrey’s shop, and who was about to make his final appearance, dishevelled and unclad before his wondering customers, on the eve of his death. Colonel Pattypan and Sir John Sugarstick (1808 or 1809), Metropolitan Grievances (1811-12), Double Bass, Proposals for Practical Duets, adapted to any instrument (1811); Matthews the Comedian, singing a song in a piece called “The Beehive” (1812); Sir Francis Burdett taken from his house; Bonaparte, being an illustration to a song sung at the Surrey Theatre by Mr. Elliston (1811), will reward examination by the student of Cruikshank’s genius, as affording distinct germs of the various powers of his mind at a later time. Colonel Pattypan and Sir John Sugarstick are essentially Cruikshankian in their humour.