shed by Bretherton in 1774 (it
bears the inscription, _H. W. Bunbury, delineavit; J. Bretherton,
fecit_). In fine contrast to the hurry of the lean Frenchman his English
counterpart ambles leisurely along, as if time were for him a matter of
entire indifference; his horse is loaded with a heavy pack, against
which the rider comfortably leans, while he puts a long horn to his
lips. He has no sword, or any weapon of defence; but the two grisly
figures by the roadside dangling on a gibbet, and his own inimitable
expression of contented ease, seem to imply that travelling is secure
for him, and Justice prompt and keen-eyed.

To this period of the Grand Tour belong also, in my judgment, the "Tour
to Foreign Parts" (drawn by Bunbury, engraved by Bretherton, published
in 1799 by J. Harris of Cornhill), the "Cuisine de la Poste," or "The
Kitchen of a French Post House" (_H. Bunbury, invt._, published 1771 by
Harris), "The Englishman at Paris," 1767, the earliest in date of these
(_Mr. Bunbury, del.; Js. Bretherton, fecit_, published 1799 by J.
Harris), and lastly the "View on the Pont Neuf at Paris" (_H. W.
Bunbury, invt._ The engraver's name, in my example, is cut). These
prints are as precious in their detailed evidence of costume and methods
of life as they are amusing. They are snapshots caught--not with a
camera, but with an eye and pencil which were almost as quick--of the
life of that old monarchic France as it was seen by the English
traveller, posting along the great high-roads, or taking his walk
through the town. Soon, very soon, all that life was to be swept away in
the hurricane of political passion, never in any of its quainter
features to return; that is why these jottings of our artist are to the
student of this period so inestimably precious.

Our travellers, three in number, and evidently portrayed from the life,
have just descended ("A Tour in Foreign Parts") from the two-horse
chaise, which the postilion is driving into the yard. The smallest of
the three Englishmen, with "Chesterfield's Letters" under his arm,
approaches the obsequious host of the "Poste Royale" with a conciliatory
smile; the while the landlady is engaged in an assault upon her
hen-roost, and the servant-girl seems to aim at a similar result with
the domestic cats.

And now ("La Cuisine de la Poste") we are introduced to the interior.
The _pot-au-feu_ hangs in the great chimney over the blazing logs; the
village gossips are there--the po