ile Mr. Pickwick runs straight forward; his left hand or arm is
obscure in both. All the faces differ--the hat in _b_ has much more the
look of being blown along than that in _a_.

9. "Mr. Winkle Soothes a Refractory Steed." Seymour's horse is
infinitely more spirited and better drawn than Phiz's. Its struggling
attitude is admirable. Seymour's landscape is touched more delicately;
the faces differ in both.

10. "The Cricket Match." First Buss plate. He introduced a farcical
incident not in the text--the ball knocking off the fielder's hat, who is
quite close to the batsman. A very poor production. Observe the
"antediluvian" shape of the bat--no paddings on the legs. The sketch is
valuable as showing how _not_ to interpret Dickens' humour, or rather how
to interpret it in a strictly _literal_ way--that is, without humour.

11. "Tupman in the Arbour." Second Buss plate--rather ostentatiously
signed "Drawn and etched by R. W. Buss." Tupman appears to be tumbling
over Miss Wardle.

12. The same subject by "Phiz." A remarkable contrast in treatment;
there is the suggestion of the pair being surprised. We see how the fat
boy came on them. The old Manor Farm in the background, with its gables,
etc., is a pleasing addition, and like all "Phiz's" landscapes,
delicately touched in. The scared alarm on the two faces is
first-rate--even Miss Wardle's foot as well as Tupman's is expressive.
There appears to be no "variation" of this plate.

13. "The Influence of the Salmon." A truly dramatic group overflowing
with humour. Note no fewer than ten faces in the background, servants,
etc., all expressing interest according to their class and degree. The
five chief characters express drunkenness in five different fashions: the
hopeless, combative, despairing, affectionate, etc. Wardle's stolid calm
is good.

14. "The Breakdown." This was "Phiz's" _coup d'essai_ after he was
called in, and is a most spirited piece. But the variations make the
second plate almost a new one. The drawing, grouping, etc., in _b_ are
an enormous improvement, and supply life and animation. The three
figures, Pickwick, Wardle, and the postillion, are all altered for the
better. In _b_ Mr. Pickwick's nervousness, as he is extricated from the
chaise, is well shown. The postillion becomes a round spirited figure,
instead of a mere sketch; Wardle, as in the text, instead of stooping
down and merely showing his back, is tramping a