We must turn now to our artist's later prints of English eighteenth-century social life, which are as full of humorous observation, even though they have not the special interest of these notes on old France. For, like Collet and Sandby, his predecessors in English caricature, Bunbury gave but little attention to political caricature. Sandby belongs almost (b. 1725) to the later years of Hogarth's ascendency; and, though not a professional caricaturist, being perhaps annoyed at that artist's depreciation of other painters, many of his caricatures are directed against Hogarth himself. But Sandby's best claim to our interest lies outside our present subject; for his landscape work in steel engraving, in aquatint and oil-colour, had led him up to the discovery of the beauty and interest of water-colour painting, in which art he may claim to be a pioneer. He outlived John Collet, who had been born in the same year (1725) as himself, and is said to have been a pupil of Hogarth, though Lambert, a landscape-painter, is mentioned as giving him his first instructions. Certainly there is something which recalls Hogarth in his drawings, which deal, as I have said, with social satire rather than politics. "A Disaster" treats of a lady who has lost both hat and wig together by the same gust of wind; her footman behind has caught one of these in each hand, and the rustics, who have preserved nature's covering, laugh at her plight. Collet's picture of "Father Paul in his Cups, or The Private Devotions of a Convent," was one of a series by our artist intended to illustrate Sheridan's comedy of "The Duenna," produced in 1775. This was close upon the period of Lord Gordon's riots (1780), and the "No Popery" feeling which then prevailed finds illustration in this work of Collet's. Like Sandby, he worked also in water-colour, and two of his sketches in this medium are mentioned by Bryan as in the Victoria and Albert Museum. We have now returned with Bunbury from his "grand tour" abroad, and have to study him at his best in his sketches of English social life in town and country. He was probably himself a good horseman, and at any rate understood, as thoroughly as even Caran d'Ache himself, the humorous side of the equestrian art. A whole series of his smaller prints deal with the rider and his steed. "How to pass a carriage," "How to lose your way," "How to travel on two legs in a frost," are among the best of these. Another clever print shows the rider of a pulling animal with a mouth of cast-iron just clearing an old woman's barrow; while among the larger prints we have "Richmond Hill," "Hyde Park," "Coxheath Ho," and "Warley Ho," and his inimitable print of a "Riding House," published by Bretherton in 1780. Bunbury's caricatures of military subjects naturally connect themselves with the period when he was actively connected with the Suffolk County Militia, more especially when, in 1778, he was in camp at Coxheath at the time of the war in America.