=Shaking the Shallow.=--Tossing in a hat. Three or more coins are shaken together in the hat, then cast out on the table, most heads or most tails being the winner or loser, according to the calling of the players.
=Sharps.=--Persons ready to take you in on all occasions.
=Shell Out.=--Subscribe, or club their pence together.
=Six and Eight-pence.=--A lawyer of the first order of _Sharks_, whose whole object in commencing an action is to make a “bill of costs.”
=Sketch-Room.=--THE--in CORINTHIAN HOUSE which was principally dedicated to the productions of the late GEORGE MORLAND, JERRY was rather more if not quite at home, almost skipping with rapture as his eye ran over the subjects of that unrivalled genius of the pencil. NATURE was seen so strongly at every touch that JERRY nearly fancied himself again at HAWTHORN HALL, looking at his dogs, pigs, and horses.
“It was the opinion of CORINTHIAN TOM, in his remarks to JERRY, when the latter first entered this apartment, that if MORLAND had only painted half the number of subjects which are now before the public, their value might have been enhanced twice as much; and _finished_ pictures, instead of _sketches_, most likely would have been the result. This was the reason TOM assigned to JERRY for having it called the SKETCH-ROOM. ‘Nine times out of ten,’ said TOM, ‘dull matter-of-fact calculation is not allied with genius.’ _Money_, to GEORGE MORLAND, was a _colour_ that he did not paint with; and, therefore, respecting its _value_, he seemed to know nothing. _Embarrassment_ and the Catchpoles first drew up the curtain and showed him the iron bars which stopped his thoughtless career. They also explained to him, in the most feeling manner, the _uses_ of a strong lock. They likewise pointed out to GEORGE the difference in his _prospects_,--not in an artist-like manner to his ‘mind’s eye,’ but in a clear distinct way of business, that _twenty shillings_ make a POUND. For the _moment_, he keenly felt the disgusting _cramped_ situation of Carey Street,[40] which compelled him to _peep_ at his objects, through the rails of his apartment: for the _moment_, also, he felt the immediate _necessity_ of procuring the gold _talismanic_ key to give him once more liberty, again to wander amidst the beauties of nature: it was then that MORLAND painted for _money_: it was then that GENIUS was in fetters: it was then that rapid _exertions_ got the better of his _taste_. ‘The sooner you paint _me_ a picture, MR. MORLAND,’ said the _leary_ Bum-trap, ‘the sooner the door will be open to you. Freedom is in view,--and I’ll discharge your debt.’ No skilful angler ever threw his line into waters with more _coaxing_ bait to hook the poor fish, than Mr. _Screw_ ‘tried it on’ with his prisoner. It was plausible: it was better,--it gave no trouble to his acquaintance: it also prevented _shyness_ or REFUSAL from his friends. The lock-up-house, by such means lost its terror. Employment was found for the mind and pencil of _Morland_. He experienced no _shiverings_ of the body--no feverish _parched-up_ tongue, waiting with the most anxious suspense for the return of the messenger to bring the NO, which ultimately sent him to jail, or the delightful YES, that set the prisoner once more at liberty. On the contrary, GEORGE was quite at home. He did as his inclinations prompted him. Jolly fellows called on him in abundance; and the song and the glass went round with the freedom of a tavern. All his wants were supplied, and the _misery_ of a spunging-house was not seen in MORLAND’S apartments. In fact, he was better attended than when out of it. From the _top screw_ to the _stamper cleaner_, all of them felt an interest in waiting upon the ‘GREAT GENIUS,’ as he was termed, in order to take a sly peep at his paintings. _Here_ GEORGE set no price to his pictures, but when he was tired of his companions, and his confined situation, he then industriously, and in a short time, _painted_ himself out of the lock-up house. _Lumbering_ him, never afterwards gave MORLAND any horrors: and, whenever he was in _trouble_, the same kind of judgment was repeated, time and often, till Mr. _Screw_ had realized a tolerable collection of valuable paintings. This officer was rather fond of paintings himself; but when any gentleman took a fancy to purchase any of them, Mr. _Screw_ never betrayed a want of knowledge of their value--by the _prices_ he affixed to them. MORLAND died at the premature age of 41, in October 29, 1804--dissipated habits proved his _quietus_.”