He had not his desires.
You might with reason, sure, expect
Your fate would be the same;
Men first thy labours will neglect,
Next quite forget thy name."
One nauseous delineation is entitled, "The Artist in his own Taste;" and another, "The Author run mad." In one he is represented as "A mountebank, demonstrating to his admiring audience that crookedness is most beautiful;" and in another of a larger size, entitled "The Burlesquer Burlesqued," depicted with satyr's legs, painting what the designer calls "A history piece, suitable to the painter's capacity, from a Dutch manuscript." This history piece is a copy of the Dutch delineation of Abraham sacrificing Isaac, by pointing a blunderbuss at his head, with an angel hovering over the figures, etc. The lives of Rembrandt, Rubens, Vandyke, and other eminent painters, are ingeniously imagined to be torn in pieces to make a window-blind for the author of the Analysis of Beauty; which book, with allusions to it, are displayed in different parts of the print, and in a storied border at the bottom it appears to be selling for waste paper.
Of this engraving, the satire of which is principally levelled at the burlesque "Paul before Felix," there are two editions; the first, for the more extensive circulation of Hogarth's fame, and the benefit of such foreigners as do not understand English, has an explanation in French.
[55] The Doctor's orthography is adhered to.
[56] Mr. Emlyn, of Windsor, who in 1782 published A Proposition for a New Order in Architecture, thus divides them: "The Doric was composed on the system of manly figure and strength, of robust and Herculean proportions; the Ionic, on the model of the easy, delicate, and simple graces of female beauty, to which the Corinthian on a similar design adapted a system of more artificial and complicated elegance."
[57] Among Hogarth's papers I found the following notice, in which he evidently glances at Athenian Stuart:—