Analysis of Beauty, it might be supposed, would have given us more instances of grace, than we find in the works of _Hogarth_; which shews strongly that theory and practice are not always united. Many opportunities his subjects naturally afford of introducing graceful attitudes; and yet we have very few examples of them. With instances of picturesque grace his works abound. Of his expression, in which the force of his genius lay, we cannot speak in terms too high. In every mode of it he was truly excellent. The passions he thoroughly understood, and all the effects which they produce in every part of the human frame: he had the happy art also of conveying his ideas with the same precision with which he conceived them.--He was excellent too in expressing any humorous oddity, which we often see stamped upon the human face. All his heads are cast in the very mould of nature. Hence that endless variety, which is displayed through his works: and hence it is, that the difference arises between his heads, and the affected caricaturas of those masters, who have sometimes amused themselves with patching together an assemblage of features from their own ideas. Such are _Spagniolet's_; which, though admirably executed, appear plainly to have no archetypes in nature. _Hogarth's_, on the other hand, are collections of natural curiosities. The _Oxford-heads_, the physicians-arms, and some of his other pieces, are expressly of this humorous kind. They are truly comic; though ill-natured effusions of mirth: more entertaining than _Spagniolet's_, as they are pure nature; but less innocent, as they contain ill-directed ridicule.--But the species of expression, in which this master perhaps most excels, is that happy art of catching those peculiarities of air, and gesture, which the ridiculous part of every profession contract; and which, for that reason, become characteristics of the whole. His counsellors, his undertakers, his lawyers, his usurers, are all conspicuous at sight. In a word, almost every profession may see, in his works, that particular species of affectation which they should most endeavour to avoid. The execution of this master is well-suited to his subjects, and manner of treating them. He etches with great spirit; and never gives one unnecessary stroke. For myself, I greatly more value the works of his own needle, than those high-finished prints on which he employed other engravers. For as the production of an effect is not his talent; and as this is the chief excellence of high finishing; his own rough manner is certainly preferable; in which we have most of the force and spirit of his expression. The manner in none of his works pleases me so well as in a small print of a corner of a play-house. There is more spirit in a work of this kind, struck off at once, warm from the imagination, than in all the cold correctness of an elaborate engraving. If all his works had been executed in this style, with a few improvements in