[Illustration: NIGHT.] Mr. Walpole very truly observes, that this print is inferior to the three others; there is, however, broad humour in some of the figures. The wounded freemason, who, in zeal of brotherly love, has drank his bumpers to the craft till he is unable to find his way home, is under the guidance of a waiter. This has been generally considered as intended for Sir Thomas de Veil, and, from an authenticated portrait which I have seen, I am inclined to think it is, notwithstanding Sir John Hawkins asserts that "he could discover no resemblance." When the knight saw him in his magisterial capacity, he was probably sober and sedate: here he is represented a little disguised. The British Xantippe showering her favours from the window upon his head, may have its source in that respect which the inmates of such houses as the Rummer Tavern had for a justice of peace.[142] The waiter who supports his worship seems, from the patch upon his forehead, to have been in a recent affray; but what use he can have for a lantern it is not easy to divine, unless he is conducting his charge to some place where there is neither moonlight nor illumination. The Salisbury flying coach oversetting and broken, by passing through the bonfire, is said to be an intended burlesque upon a right honourable peer, who was accustomed to drive his own carriage over hedges, ditches, and rivers; and has been sometimes known to drive three or four of his maid-servants into a deep water, and there leave them in the coach to shift for themselves. The butcher and little fellow who are assisting the terrified passengers, are possibly _free_ and _accepted_ masons. One of them seems to have a mop in his hand;--the pail is out of sight! To crown the joys of the populace, a man with a pipe in his mouth is filling a capacious hogshead with British Burgundy. The joint operation of shaving and bleeding, performed by a drunken 'prentice on a greasy oilman, does not seem a very natural exhibition on a rejoicing night. The poor wretches under the barber's bench display a prospect of penury and wretchedness which I hope is not so common now as it was then. In the distance is a cart laden with furniture, which some unfortunate tenant is removing out of the reach of his landlord's execution. There is humour in the barber's sign and inscription: "Shaving, bleeding, and teeth drawn with a touch. _Ecce signum!_" The Rummer Tavern still retains its old situation. It was then quaintly distinguished as the NEW BAGNIO. By the oaken boughs on the sign, and the oak leaves in the freemasons' hats, it seems that this rejoicing night is the 29th of May, the anniversary of our second Charles's restoration; that happy day when, according to our excellent old ballad, "the king enjoyed his own again." This might be one reason for the artist choosing a scene contiguous to the beautiful equestrian statue[143] of Charles I.