2. Analysis of Beauty. Two plates. Mr. _Walpole_ observes, that _Hogarth's_ "samples of grace in a young lord and lady are strikingly stiff and affected. They are a _Bath_ beau and a county beauty." The print is found in three different states. "In the original plate the principal figure represented the present king, then prince, but _Hogarth_ was desired to alter it. The present figure was taken from the last duke of _Kingston_; yet, though like him, is stiff, and far from graceful."[1] In Plate I. Fig. 19. the fat personage drest in a _Roman_ habit, and elevated on a pedestal, was designed, as _Hogarth_ himself acknowledged, for a ridicule on _Quin_ in the character of _Coriolanus. Essex_ the dancing-master is also represented in the act of endeavouring to reduce the graceful attitude of _Antinous_ to modern stiffness. Fig. 20. was likewise meant for the celebrated _Desnoyer_, dancing in a grand ballet. Dr. _Beattie_, speaking of the modes of combination, by which incongruous qualities may be presented to the eye, or the fancy, so as to provoke laughter, observes "A country dance of men and women, like those exhibited by _Hogarth_ in his Analysis of Beauty, could hardly fail to make a beholder merry, whether he believed their union to be the effect of design or accident. Most of those persons have incongruities of their own in their shape, dress, or attitude, and all of them are incongruous in respect of one another; thus far the assemblage displays contrariety or want of relation: and they are all united in the same dance; and thus far they are mutually related. And if we suppose the two elegant figures removed, which might be done without lessening the ridicule, we should not easily discern any contrast of dignity and meanness in the group that remains. "Almost the same remarks might be made on _The Enraged Musician_, another piece of the same great master, of which a witty author quaintly says, that it deafens one to look at it. This extraordinary group forms a very comical mixture of incongruity and relation; of incongruity, owing to the dissimilar employment and appearances of the several persons, and to the variety and dissonance of their respective noises; and of relation, owing to their being all united in the same place, and for the same purpose of tormenting the poor fidler. From the various sounds co-operating to this one end, the piece becomes more laughable, than if their meeting were conceived to be without any particular destination; for the greater number of relations, as well as of contrarieties, that take place in any ludicrous assembly, the more ludicrous it will generally appear. Yet, though this group comprehends not any mixture of meanness and dignity, it would, I think, be allowed to be laughable to a certain degree, merely from the juxta-position of the objects, even though it were supposed to be accidental." Essay on Laughter and Ludicrous Composition, 4to Edit. 608.