stepped--or galloped--to us out of Sterne's "Sentimental Journey." The drawing of these prints is clumsy and coarse in technique, though full of character; and, in fact, Bunbury, who seems to have begun to publish as early as 1771,[6] when he was only twenty-one years of age, had little knowledge or skill in engraving, and seems, after some preliminary efforts which were not very successful, to have entrusted the most of his work to be engraved by other hands. Thus James Bretherton, who was an engraver as well as a publisher, was engaged on Bunbury's prints from 1772 onwards; though later we shall find Rowlandson working as an engraver on Bunbury's humorous sketches, and necessarily, from his strong individuality, imparting to them much of his own character. The pendant to the print just described is the "Courrier Anglois," and this was in fact both engraved and published by Bretherton in 1774 (it bears the inscription, _H. W. Bunbury, delineavit; J. Bretherton, fecit_). In fine 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.