From one of the horizontal beams hung a stuffed figure, resembling a human being, and as large as life. It was dressed in a complete suit of male attire; and a white mask gave it the real but ghastly appearance of a dead body. It was suspended by a thick cord, or halter, the knot of which being fastened beneath the left ear, made the head incline somewhat over the right shoulder; and it was waving gently backwards and forwards, as if it had been recently disturbed. The arms were pinioned behind; and the hands, which were made more or less life-like by means of dingy white kid gloves, were curled up as it were in a last convulsion. In a word, it presented the exact appearance of a man hanging. Markham started back when his eyes first fell on this sinister object; but a second glance convinced him that the figure was only a puppet. This second survey brought to his view other features, calculated to excite his wonder and curiosity, in that strange apartment. The figure already described was suspended in such a way that its lower extremity was about a foot from the ground; but it was concealed nearly up to the knees by a small scaffold, or large black box, it having been suffered to fall that much through a trap-door made like a drop in the platform of that diminutive stage. From this strange spectacle,—which, in all respects, was a perfect representation of an execution—Markham's eyes wandered round the loft. The walls—the rough brick-work of which was smeared over with white-wash,—were covered with rude pictures, glaringly coloured and set in common black wooden frames. These pictures were such as are sold in low neighbourhoods for a few pence each, and representing scenes in the lives of remarkable highwaymen, murderers, and other criminals who had ended their days upon the scaffold. The progress of Jack Sheppard to the gibbet at Tyburn,—the execution of Jonathan Wild,—Turpin's ride to York,—Sawney Bean and his family feasting off human flesh in their cave,—Hunt and Thurtell throwing the body of Mr. Weare into the pond,—Corder murdering Maria Martin at the Red Barn,—James Greenacre cutting up the corpse of Hannah Brown,—such were the principal subjects of that Gallery of Human Enormity. But as if these pictorial mementos of crime and violent death were not sufficient to gratify the strange taste of the occupants of that apartment, some hand, which was doubtless the agent of an imagination that loved to "sup full of horrors," had scrawled with a burnt stick upon the wall various designs of an equally terrific nature. Gibbets of all forms, and criminals in all the different stages of their last minutes in this life, were there represented. The ingenuity of the draughtsman had even suggested improvements in the usual modes of execution, and had delineated drops, halters, and methods of pinioning on new principles! Every thing in that spacious loft savoured of the scaffold!