Number 19 represents the _deep-mouth'd Quin!_ dressed in all the dignity of a playhouse wardrobe, to perform the part of Brutus. That this (and not Coriolanus) is the character meant by the artist, I am inclined to think, from the statue of Julius Cæsar, with a rope round his neck, immediately before him.[17] The rope is passed through a pulley, inserted in one of those triple supporters of great weights, which some of our provincial carpenters call a gallows, and passes to upright beams intersected by poles, in the front of a monument, on which is seated a judge, over whose head is another noosed pulley. How far this may hint at any connection between the _law_ and the _rope_ I cannot determine; but a weeping naked boy, who is seated below, has in his hand what may pass for the model of a gibbet as well as a square. Over the judge's head is written, BIT DECEM. 1752, ÆTATIS; the O preceding BIT is covered: I apprehend the same judge may be found in a print of THE BENCH. A _new order_ was Hogarth's favourite idea: he has here made an attempt at a capital composed of hats and periwigs.[18] _An infant with a man's wig and cap on_, is a miniature representation of Mr. Quin's Roman general; and a monkey child, led by a travelling tutor, gives the painter's opinion of those young gentlemen who visited Rome for improvement in _connoisseurship_.[19] It is copied from a burlesque of Cav. Ghezzi, etched by Mr. Pond. PLATE II. "Though rosy youth embloom the sprightly fair, And beauty mold her with a lover's care, If motion to the form denies a grace, Vain is the beauty that adorns the face." [Illustration: ANALYSIS OF BEAUTY, PLATE. II.] The fatigued figures that labour through this dance, Mr. Hogarth in his 16th chapter thus explains: OF ATTITUDE. "Such dispositions of the body and limbs as appear most graceful when seen at rest, depend upon gentle winding contrasts, mostly governed by the precise serpentine line, which in attitudes of authority are more extended and spreading than ordinary, but reduced somewhat below the medium of grace in those of negligence and ease; and as much exaggerated in insolent and proud carriage, or distortions of pain (see Number 9, in PLATE I.), as lessened and contracted into plain and parallel lines, to express meanness, awkwardness, and submission. "The general idea of an action, as well as of an attitude, may be given with a pencil in very few lines. It is easy to conceive that the attitude of a person upon the cross may be fully signified by the true straight lines of the cross; so the extended manner of St. Andrew's crucifixion is wholly understood by the X-like cross.