"The two parts of curves next to 71, served for the old woman and her partner at the farther end of the room. The curve and two strait lines at right angles gave the hint for the fat man's sprawling posture. I next resolved to keep a figure within the bounds of a circle, which produced the upper part of the fat woman between the fat man and the aukward one in a bag-wig, for whom I had made a sort of an X. The prim lady, his partner, in the riding habit, by pecking back her elbows, as they call it, from the waist upwards, made a tolerable D, with a straight line under it, to signify the scanty stiffness of her petticoat; and a Z stood for the singular position the body makes with the legs and thighs of the affected fellow in the tye-wig; the upper part of his plump partner was confined to an O, and this, changed into a P, served as a hint for the straight lines behind.[2] The uniform diamond of a card was filled by the flying dress, &c. of the little capering fellow in the Spencer wig; whilst a double L marked the parallel position of his poking partner's hands and arms [_N. B. This figure was copied from that of an uncouth young female whom_ Hogarth _met with at_ Isleworth _assembly_]: and, lastly, the two waving lines were drawn for the more genteel turns of the two figures at the hither end. "The drawing-room is also ornamented purposely with such statues and pictures as may serve to a farther illustration. _Henry_ VIII. [Fig. 72. P. 2] makes a perfect X with his legs and arms; and the position of _Charles_ [Fig. 51. P. 2.] is composed of less-varied lines than the statue of _Edward_ VI. [Fig. 73. P. 2.]; and the medal over his head is in the like kind of lines; but that over Q. _Elizabeth_, as well as her figure, is in the contrary; so are also the two other wooden figures at the end. Likewise the comical posture of astonishment expressed by following the direction of one plain curve, as the dotted line in a _French_ print of _Sancho_, where Don _Quixote_ demolishes the puppet-show [Fig. 75. R. P. 2], is a good contrast to the effect of the serpentine lines in the fine turn of the _Samaritan_ woman [Fig. 75. L. p. 2.] taken from one of the best pictures _Annibal Carache_ ever painted."