George Colman, the younger, chose for much of the action of his play, “John Bull, or the Englishman’s Fireside,” a little wayside inn on the Cornish border. Sir Walter Scott praised this comedy as “by far the best example of our later comic drama. The scenes of broad humour are executed in the best possible taste; and the whimsical, yet native characters, reflect the manners of real life.” Not the least pleasing of these is Denis Brulgruddery, the warm-hearted impulsive landlord of the _Red Cow_. And so it ever is. We associate the inn with genial comfort and old English hospitality; the sight of it kindles every good sentiment of human kindness within us, and we hail with enthusiasm the reconciliation of father and child, the union of two constant lovers, and happiness restored all round. There is nothing so successful on the stage as an inn scene. Artists have also shared in the making of the inns. A host of signboards are attributed to Hogarth or that eccentric and profligate genius, George Morland. Isaac Fuller was another eminent painter who turned his talents in this direction. The _Royal Oak_ sign at Bettws-y-Coed, now in the possession of the Willoughby d’Eresby family, was painted by David Cox, the _George and Dragon_ at Hayes, in Kent, by Millais. Outside the _King’s Head_ at Chigwell--the Maypole of “Barnaby Rudge”--hangs a portrait of Charles I, by Miss Herring, while the sign of the _George and Dragon_ at Wargrave is the work of Mr. George Leslie, R.A. St. George is depicted as taking refreshment after the battle out of a tankard of respectable size. The old inn by the bridge at Brandon on the Little Ouse, and the _Old Swan_ at Fittleworth on the Arun, are full of paintings by modern artists; the latter has one room ornamented with panel pictures by various hands, and the sign (too delicate to hang outside) was painted by Caton Woodville. There was at Horncastle, in Lincolnshire, a signboard painted by Hilton, the Royal Academician, which hung over the inn door for over forty years, finally being taken down and sold, on a change of tenancy. Mr. J. F. Herring, the animal painter, used to relate how he once painted a signboard for a carpenter employed by him. The carpenter afterwards took a beer shop and put the sign, which represented the “Flying Dutchman,” over the door. Eventually he sold it for £50, and with the money emigrated to Australia. Most old inns contain pictures more or less valuable, or at least old sporting prints. Few can compare in this respect with the _George_ at Aylesbury, rebuilt about 1810, which from time immemorial has possessed a remarkable collection of good pictures; portraits by Sir Joshua Reynolds and Mytens, besides some well executed copies of Rubens, Raphael and others. It is supposed to have been brought from Eythorpe House, demolished in the early years of the nineteenth century. CHAPTER XII FANCIFUL SIGNS AND CURIOUS SIGNBOARDS