Paulo's free stroke,' etc.
"We must not seek for examples in any of the works Mr. Pope recommends, for whatever was painted by his friends had his unqualified praise.[61] He would have said the same of Mr. Kent. Poets are the fountains of flattery, as kings are the fountains of honour. The former can with as much ease make one man an inspired painter, as the latter can create another right honourable, without either of the parties producing their credentials."[62]
HERCULES, HENRY VIII., AND A FRENCH DANCING-MASTER.
HERCULES, HENRY 8TH & A FRENCH DANCING MASTER.
In Hogarth's manuscript of the Analysis, facing the chapter on Fitness, I found a red-chalk sketch of these three figures, which (with slight variations) he has introduced in his illustrative prints. They are copied as an example of the manner in which he sketched his first thoughts: they seem placed together to contrast the easy and natural turn of the Hercules with the stiff and artificial attitudes assumed by the other two figures, in both of which uniformity is the leading principle. Relative to this, Hogarth, in p. 20 of the Analysis, puts the following query:—
"If uniform objects were agreeable, why is there such care taken to contrast and vary all the limbs of a statue? Were the eye pleased with uniformity, the picture of Henry VIII. would be preferable to the finely contrasted figures of Guido and Correggio; and the Antinous' easy sway must submit to the stiff and straight figure of the dancing-master.
"The 'Hercules' by Glycon (fig. 1) hath all its parts finely fitted for purposes of the utmost strength that the texture of the human form will bear. The back, breast, and shoulders have huge bones, and muscles adequate to the supposed active strength of its upper parts; but as less strength was required for the lower parts, the judicious sculptor, contrary to all modern rule of enlarging every part in proportion, lessened the size of the muscles gradually down towards the feet, and for the same reason made the neck larger in circumference than any part of the head; otherwise the figure would have been burdened with an unnecessary weight, which would have been a drawback from his strength, and, in consequence of that, from his characteristic beauty. These seeming faults, which show the superior anatomical knowledge as well as judgment of the ancients, are not to be found in the leaden imitations near Hyde Park."
The bluff and boisterous Henry VIII. is described in the same volume as forming a complete X with his legs and arms; and the pert and prim dancing-master is so accomplished a person, that were he to see his scholar in the easy and gracefully-turned attitude of the Antinous, he would cry shame! tell him he looked as crooked as a ram's horn, and bid him hold up his head, as he himself did. This figure is said to be intended for Essex the dancing-master.