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 

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