One nauseous delineation is entitled, "The Artist in his own Taste;" and another, "The Author run mad." In one he is represented as "A mountebank, demonstrating to his admiring audience that crookedness is most beautiful;" and in another of a larger size, entitled "The Burlesquer Burlesqued," depicted with satyr's legs, painting what the designer calls "A history piece, suitable to the painter's capacity, from a Dutch manuscript." This history piece is a copy of the Dutch delineation of Abraham sacrificing Isaac, by pointing a blunderbuss at his head, with an angel hovering over the figures, etc. The lives of Rembrandt, Rubens, Vandyke, and other eminent painters, are ingeniously imagined to be torn in pieces to make a window-blind for the author of the _Analysis of Beauty_; which book, with allusions to it, are displayed in different parts of the print, and in a storied border at the bottom it appears to be selling for waste paper. Of this engraving, the satire of which is principally levelled at the burlesque "Paul before Felix," there are two editions; the first, for the more extensive circulation of Hogarth's fame, and the benefit of such foreigners as do not understand English, has an explanation in French. [55] The Doctor's orthography is adhered to. [56] Mr. Emlyn, of Windsor, who in 1782 published _A Proposition for a New Order in Architecture_, thus divides them: "The Doric was composed on the system of manly figure and strength, of robust and Herculean proportions; the Ionic, on the model of the easy, delicate, and simple graces of female beauty, to which the Corinthian on a similar design adapted a system of more artificial and complicated elegance." [57] Among Hogarth's papers I found the following notice, in which he evidently glances at Athenian Stuart:-- "Now in hand, and will be published in about two months' time, a short addenda or supplement to the _Analysis of Beauty_, wherein, by the doctrine of varying lines, it will plainly be shown that a man who had never seen or heard of Roman architecture might, by adhering to these lines, produce new and original forms. "The number of pompous and expensive books of architecture which have been lately published, consist of little more than examples of the variations that were made among the ancients; and nice and useless disputes about which were the most elegant, without assigning any other reason for their choice than the authority of the columns they have measured, which gives them no other merit than that of mere pattern drawers." [58] This quotation is from p. 130, and refers to two heads in the second plate, Nos. 108 and 9, one of which has a slight tendency to a smile, and the other has a broad grin. The head here copied, in point of character, comes between them. [59] This is copied from the MS. of the _Analysis_, where he had made the drawings of the "Round and Square Heads," which he evidently intended to have introduced in his plate.