Draw them like, for I assure ye,
You will need no caricatura.
Draw them so that we may trace
All the soul in every face."
[31] The designer of a print which was published in 1753, and intended to burlesque some of the figures in the Analysis of Beauty, seems to have believed that Hogarth intended to have published his objections to the establishment of the academy. The print is entitled "Pugg's Graces," and the artist is represented with the legs of a satyr, and painting "Moses before Pharaoh's Daughter." One of his hoofs rests on three books, the lowest of which is labelled Analysis of Beauty. A little lower in the print is an open volume, on one page of which is written, Reasons against a Public Academy, 1753; and on the other, No Salary.
[32] Louis XIV. founded an academy for the French at Rome; but Poussin and Le Sueur, painters who have done the most credit to France, were prior to the establishment.
[33] The late Sir Robert Strange seems to have entertained an opinion somewhat similar:—"Academies, under proper regulations, are no doubt the best nurseries of the fine arts. But when the establishment of the Royal Academy at London is impartially examined, it will not, I am afraid, reflect that credit we wish upon the annals of its royal founder."—Strange's Inquiry, p. 61.
[34] "Of the estimation in which they were held, and the taste with which they were contemplated by the Romans, we may form some judgment by a general assuring a soldier, to whom he gave in charge a statue which was the work of Praxiteles, that if he broke it, he should get another as good made in its place."
[35] Transmigrations of heathen deities into apostles, etc., have been too frequent to need particular enumeration.
[36] Sir Godfrey Kneller knew this, and made the most of his labours. He used to say, in his own vindication, that historical painting only revived the memory of the dead, who could give no testimony of their gratitude; but when he painted the living, he gained what enabled him to live from their bounty.