more dangerous self-approval of the third; behind we see a chawbacon
grinning at the scene, beneath the portentous sign of "The Old Fortune,"
with its painting of a wooden-legged and armless veteran. "A Visit to
the Camp" gives just such a scene--save that the characters are in
eighteenth-century costume--as might be witnessed even to-day, when
parents, aunts and cousins visit their young hopeful amid the martial
surroundings of his volunteer camp; and here, too, may be mentioned a
series of single figures in military costume--a "Life-guardsman," "Light
Infantryman," "Light-horseman" and a "Foot-soldier." These were all
published by Macklin. The foot-soldier's uniform appears in "Recruits";
the handsome uniform of the Light-horseman, with its plumed helmet and
high boots, in "A Visit to the Camp," and again in "The Deserter."

While Bunbury was thus occupied with his military career his wife, whom
he had left in lodgings in Pall Mall, gave him their second son, to whom
Sir Joshua Reynolds stood godfather. Is it too much to suggest that
this latter is the artist caricatured in that delightful "Family Piece,"
of which I also hope to give an illustration; and which may have been
suggested to our artist by the scene in his friend Oliver Goldsmith's
masterpiece, "The Vicar of Wakefield"?

To the next period of Bunbury's life--when war's alarms were over and
the camp at Coxheath broken up--belong many of his best prints of
English country life. He was living now in Suffolk, and his print of the
"Country Club" is said to have depicted to the life an institution of
that nature in quiet old Bury St. Edmunds; while "Conversazione" and the
"Sulky Club" display the social efforts of the period, and his famous
"Barber's Shop," which Knight engraved in 1783, comes into this part of
his career.

=_By H. W. Bunbury_ THE FAMILY PIECE=

To his visits to the West of England and North Wales about this time we
owe some charming sketches--the two "Wynnstay Theatre Tickets," for
instance, dating from some visit to Sir Watkin Williams Wynn when
theatricals were in the air at Wynnstay, and that lovely print of "The
Modern Graces," drawn, it is said, from the three beautiful Misses
Shakespere during the stay of our artist at Aston; while those two
prints of "Peasants from the Vale of Llangollen" hint at some pleasant
ramble in the Welsh hills. Bunbury excelled, in fact, in a class of
subject which does not strictly fall within our not