The "Healtheries" and "Inventories" followed in 1884 and 1885, and _Punch's_ verdict was that "The Fisheries and the Healtheries were very much the same, especially the Inventories." The Colonial and Indian Exhibition (the "Colinderies" as _Punch_ christened it) in 1886 prompts the usual mock-serious account of the opening ceremony. Some distrust was excited by the suggestion of the Prince of Wales that the Exhibition should be given a permanent existence as an Imperial Institute, to be founded as a Jubilee Memorial, and _Punch_ gave his blessing to a proposal which was carried into effect. The subsequent history of the Imperial Institute affords an interesting commentary on the fear, expressed by _Punch_ in 1888, that it would degenerate into another popular Exhibition, with bands, side-shows, etc. He regarded it at the moment as "a big-sounding name, signifying nothing; to conjure with but nothing more"; and some of the names of the organizing committee filled him with astonishment at the ineptitude of their choice. Buffalo Bill's "Wild West" Show in West Kensington in 1887 struck a somewhat new note. _Punch_ was impressed by the buck-jumping, but the rest smelt too much of footlights and sawdust, and he asks, "Why should Noble Savages be always beaten by the Cowboys?" Still "Buffalo Bill" was a picturesque figure, with a not undistinguished record of active service; the Queen's visit is appropriately described in the "Hiawatha" metre, and Du Maurier, in a spirited fantasy, hints that the introduction of a team of buck-jumping ponies would brighten the monotonous decorum of the meets of the Four-in-Hand Club. The absurdities of the annual Exhibitions did not escape _Punch_ in their earlier days. At the "Healtheries" he describes a representation of a street in Old London, in which there was a girl in Tudor costume selling photographs! The strange miscellaneous international exhibitions which followed the first four were rich in material for ridicule. A prominent attraction at the Anglo-Danish Exhibition of 1888 was a "grotto of Mystery," consisting chiefly of skeletons. At the Italian Exhibition which followed, the great feature was the "Triumph of Titus," a representation of a gladiatorial contest, and chariot races by "wild omnibus horses." The sons of Belial, as represented by Master Freddy, who was disappointed because "they didn't have lions and--and real martyrs," were dissatisfied, but Mr. Anstey in his "Voces Populi" had a glorious time.