_May 30, 1810._ _A Table d'Hôte, or French Ordinary in Paris._ (20).--The _Table d'Hôte_ is an appropriate companion to the _Paris Diligence_. The travellers have duly reached the capital, and a scene of Parisian life is shown on their arrival in the French metropolis. The _salle à manger_, where the ordinary is held, is a handsome apartment, decorated in showy taste with enrichments in plaster, canopies, curtains, mirrors, &c. The repast is in active course, and its humours are improved on with an observant eye. The company is diversified; there are _bourgeois_ and their wives, _petits-maîtres_, marquises, fat friars, and ladies of various degrees, all complaisance and graciousness. A Savoyard, with a hurdy-gurdy, and her daughter, with a triangle, are 'discoursing sweet sounds' to enliven the repast. A dog is taught to beg for food. The manners of the feeders are of different shades. Pledging toasts, flirtations, and small gallantries animate the severer business of the hour. Several whimsical accidents are introduced, results of awkward or inattentive service on the part of waiters; one grave citizen is receiving a scalding _bouillon_ in his eye, while a _bouilli_ is simultaneously poured over a bowing dandy; a glass of wine is capsized into a lady's plate while her attention is diverted; and a piggish priest, whose soup is suffered to stream down the corners of his fat jowl, has his shaven pate saluted by a cascade from a bottle tilted up by a heedless fair _domestique_, whose regards are engaged by the pleasantries of an amorous old fogey by her side, with whom she is exchanging jocularities. 1810 (?). _Paris Diligence._ Rowlandson del. et sculp. Published by T. Tegg.--This print is one of a class somewhat superior to the average series published in Cheapside. The scene is a favourite one with the artist, and his early experiences in France here serve him in valuable stead. It is in pictures of Continental life, before the aspects of the quaint and picturesque surroundings were entirely transmogrified by the French Revolution, that we recognise Rowlandson at his best. The value of these sketches is perhaps greater than of any other works his facile hand has bequeathed us, and the interest of these subjects is found to appeal to a larger circle of admirers.