stilion in his clumsy jack-boots, the
housewife, and the cure with a friend sipping his glass of red wine--and
on the walls _Louis le bien-aime_, with baton and perruque, is balanced
by _Sanctus Paulus_, with a sword much bigger than himself, or by the
"Ordonnances de Monsieur le Duc de Choiseul, Grand Maitre des Postes et
Relais de France." Or, again, our travellers have arrived at last in the
great city ("Englishman at Paris"), and take their walk in the streets
of _La Ville Lumiere_. A fat monk and a thin peasant seem both to regard
our tourist with astonishment; a dandy of the period is driving his
chariot with a lackey hanging on behind, and the indispensable
_perruquier_ is hurrying to an appointment. Or--in its way most curious
of all--we see the Pont Neuf of those old days, with the costumes and
characters which then thronged its thoroughfare. Huge muffs seem to have
been then the fashion, often combined in use with umbrellas, such as we
now should call Japanese sunshades; the _perruquier_ here, too, must
have his muff, though both hands are filled with the shaving-pot and
curling tongs; the trim abbe in his short cassock, even the
truculent-looking postilion are all provided. In the corner a poodle is
being clipped, just as we may see to-day beside the Seine, and is loudly
vociferating his complaints; and, above all, we see the quaint ensign
of the trade, which combined the shoeblack's lower art with that of the
dog-barber.

_Aux Quarante Lions
St. Louis
Decrotte a l'Anglaise
et Tond des Chiens
Proprement
Allons, Messeigneurs, Allons._

We must turn now to our artist's later prints of English
eighteenth-century social life, which are as full of humorous
observation, even though they have not the special interest of these
notes on old France. For, like Collet and Sandby, his predecessors in
English caricature, Bunbury gave but little attention to political
caricature. Sandby belongs almost (b. 1725) to the later years of
Hogarth's ascendency; and, though not a professional caricaturist, being
perhaps annoyed at that artist's depreciation of other painters, many of
his caricatures are directed against Hogarth himself. But Sandby's best
claim to our interest lies outside our present subject; for his
landscape work in steel engraving, in aquatint and oil-colour, had led
him up to the discovery of the beauty and interest of water-colour
painting, in which art he may claim to be a pioneer. He outli