house at Oatlands, near Weybridge, to be near the Duke and Duchess of York, who were then residing at Oatlands Park; and it was here that in 1798 Henry Bunbury had a terrible blow, in the loss of his wife at the early age of forty-five years. The beautiful face and figure of Catherine Horneck had often appeared in our artist's fancy subjects; their life together seems to have been a very happy one, and we may believe that he never entirely recovered from this loss, for the next thirteen years of his life after her decease were spent by him in comparative retirement. He left Oatlands, and probably also, then or later, his official post at Court, and came to live in the Lake Country, where he had Robert Southey as his friend; it was at Keswick that he died, in 1811, and lies buried there far away from the grave of his wife in Weybridge Church. His prints form a link in our knowledge of eighteenth-century social life in England which we could ill afford to lose. Not always very strong in drawing, his humour is genuine, wholesome, spontaneous; his sense of beauty, in subjects outside of pure caricature, often very fascinating and refined; while in both classes of subject he remains happily free from that coarseness which disfigures to some extent the great caricaturists whom I shall treat of in my next two chapters. A charming personality--all his work seems to tell us--and a lovable man; English to the core, in the best sense, fond of his home, fond of outdoor life, fond of his joke, but a joke whose laughter has no bitterness or malice, and leaves no bad taste behind. ="LUMPS OF DELIGHT" BY H. W. BUNBURY= ="LUMPS OF PUDDING" BY H. W. BUNBURY= IV THE COMEDY OF POLITICS In treating here of English eighteenth-century caricature, I find that the conditions of space at my command in this work compel me, in order to do my subject any justice at all, to focus my reader's interest on certain central figures, who typify, each in themselves, one side or other of their art; and to pass by more slightly some of the lesser men, whose interest is either divided or secondary. Such a towering personality in caricature as James Gillray comes necessarily into the first of these categories; such draughtsmen as Woodward or Sayer into the second. Woodward comes near to Bunbury in style and subject, and like him seems to have preferred social satire, though occasionally--as in his "General Complaint," of 1796--he touches political topics of the time. Sayer, belonging to the period of Gillray, is, like him, essentially a political caricaturist. James Sayer was the son of a merchant captain, and had been put to the profession of attorney: but caricature attracted him more than law, and, having gained the notice and interest of the younger Pitt, he attached himself to his service with such industry and success that Charles James Fox is said to have remarked that Sayers' caricatures had cost him more votes than all the speeches in the House of Commons.