To this class, too, belongs Bunbury's famous "Propagation of a Lie," published in 1787. Male figures only appear in this wonderful series; though (alas!) many of us have learnt from experience that the fair sex, with all its charm, is not always averse to "_broder_" the simple truth, especially when a prospect of scandal is concerned. Bath, we may feel sure, would have offered in those days every facility of this nature, if required; and it may be fairly assumed that the _mise-en-scene_ for this print was the same as that of the "Long Minuet." From "Dear me! You don't say so!" we proceed through the stages of "Heigh ho!" "O fye!" "Indeed!" "There now!" to that lively dandy who exclaims "Ha! Ha!" and that irascible old gentleman who is shaking his fist at him with the reply, "God's zounds! hold your tongue!" To the same line of social satire belong the "Front, side, and back view of a modern Gentleman," "Sunday Evening," "Morning, or the Man of Taste," and "Evening, or the Man of Feeling" (engraved by J. R. Smith in 1781), and a "Fashionable Salute," called "Salutation Tavern," of which I give a plate from the print in my own collection. The same engraver, J. R. Smith, produced Bunbury's sketch of "Lord Derby on Horseback," following the coach of the lovely Miss Farren,[8] which has the motto: "When I followed a lass that was froward and shy." But the "lass" in question became less shy later, and complied to his request to become Countess of Derby. =LORD DERBY= "Patience in a Punt," one of our artist's best-known prints, was engraved by Rowlandson, and has acquired a good deal of his characteristic drawing in the process; and I may mention briefly here some prints dealing with Cambridge life--"The Hope of the Family," "Admission at the University," and "Pot Fair, Cambridge" (dated 1777), as well as a series of very interesting original etchings by our artist in the British Museum collection. Professor Colvin tells me that a recently acquired collection there of Italian prints included several by Bunbury; and among these may have been "John Jehu--L'Inghilterra," 1772, and "The Dog-Barber--La Francia," 1772 (a theme which we have noted in his print of the "Pont Neuf"), as they by their titles seem to be evidently intended for the Italian market. By far the most interesting, in one way, of these etchings by our artist--which date from the beginning of his career and are often very weak in drawing--is one which shows two boys, or men, one of whom is riding a pig; and which belongs to the time when Bunbury was a boy at Westminster School, being thus, as I believe, his earliest existing caricature. The British Museum is, in fact, very rich in Bunbury's prints; and his series there of the "Arabian Nights" (in colour, engraved by Ryder) may be noted here (the print of "Morgiana's Dance" being especially charming), ere we turn back to our artist's life story. In 1797 the Bunburys had taken a small