It is a little difficult to comment usefully about the editing of Edison films of this era. Recent work has indicated that Porter's landmark LIFE OF AN American FIREMAN was originally edited in a style consonant with magic lantern shows, but later re-edited to agree with now-standard practices: linear time, albeit with clearly marked flashbacks and speeding up and slowing down of the passage of time. Nonetheless, by this point, Porter's technique had become sufficiently widespread throughout Edison that this uncredited piece is skillfully edited, although filled with -- to the modern eye -- abrupt transitions.
The set design also has clearly improved. COHEN'S ADVERTISING SCHEME, from three years' earlier, made use of painted backdrops. This movie has a much more realistic appearance. If the plot still makes use of then-current stage conventions -- the big-nosed Jewish merchant, the dancing lower classes, etc., in a style that Griffith would turn on its head within a couple of years, still there is an attempt to fill the screen and keep things moving.
Stylistically, Edison's products went their own way until about 1913. There remains a strangeness -- to the modern eye -- to the works of the studio that was occasionally exploited to advantage. This piece, however, remains a curiosity.