We must notice a few of the details. The three guards are foremost in the picture, and in merit; the struggle in their countenances between discipline and a sense of the ludicrous scene before them is admirably represented; as well as the little urchin with his tin sword. The centre figure of the High Sheriff, with his tattered and faded finery of office, is equally clever; but the skill with which the artist has contrived to express his forced mirth, and mopstick bravado, is still more forcible. The troubled countenance of the Lord Mayor is an excellent portrait of the indignation of little authority when perturbed by men of greater place. The faces of the turnkey and the sergeant are likewise admirable; and that of the soldier looking towards the latter for orders, is like an excellent piece of byplay in the farce. The drunken patriot, behind the High Sheriff, is well entitled to the attention which the artist, in his explanation, suggests; but the spectator must not dwell too long on this sorrowful wreck of fallen nature. The group in the foreground of the right hand corner, is an episode which must not be omitted, for it corresponds with the fine portrait in the same situation in the "Election" picture. The reckless dissipation of the fine, young fox-hunter, the half intoxicated chuckle with which he holds the bottle, the grief of his daughter and wife, and the little shoeless boy with his hoop, are finely contrasted with the rich humour and extravagant burlesque of all around them. The slyness of the Head Constable, in the left hand corner, half smothered in his mock robes, is expressively told; and the painter is a capital likeness. From the success of Mr. Haydon in the particular line of art requisite for scenes of real humour, it is not unlikely that his execution of the first picture, the "Election" may prove one of the most fortunate events in his professional career, and turn out to be one of the "sweet uses of adversity," by eliciting talent which he probably did not believe himself to possess. Much as we admire this style of art, we can but deplore that purchasers cannot be found for such pictures as his _Entry into Jerusalem_, and _Judgment of Solomon_, both which, with two others, are exhibited in the room with the Chairing of the Members. Out of the scores of new churches which are yearly completed, surely some altar-pieces might be introduced with propriety; and when we consider the peculiar influence which such scenes as those chosen by Mr. Haydon are known to possess over the human heart, we do not think their entire exclusion from modern churches contributes to their devotional character.