As Dr. Townley, in the foregoing mythological fragment, chooses to suppose that in the Greek particles which compounded the name of Pythagoras were to be found the letters H O G A R T H; Hogarth, with a whimsicality somewhat similar, sported an opinion that the first man who made a well-formed vase took another man for his model. In page 78 of his _Analysis_, he remarks "that the exact cross of two equal lines cutting each other in the middle, as fig. 69, would confine the figure of a man drawn conformably to them, to the disagreeable character of his being as broad as he is long. And the two lines crossing each other, to make the height and breadth of a figure, will want variety a contrary way, by one line being very short in proportion to the other, and are therefore also incapable of producing a figure of tolerable variety. To prove this, it will be very easy for the reader to make the experiment by drawing a figure or two (though ever so imperfectly), confined within these limits. "There is a medium between these, proper for every character, which the eye will easily and accurately determine. "Thus, if the lines, fig. 70, were to be the measure of the extreme length or breadth, set out either for the figure of a man or a vase, the eye soon sees the longest of these is not quite sufficiently so in proportion to the other for a genteel man, and yet it would make a vase too taper to be elegant; no rule or compasses would decide this matter either so quickly or so precisely as a good eye." I apprehend that Hogarth intended to have introduced this vase into the second print of his _Analysis_, but found he had not room; for, on the same piece of paper with the drawing, he thus continues the subject: "We cannot wonder that many writers should have imagined that the different orders of architecture have been taken from the human form, since both are governed by the same principles of _fitness_, _strength_, and _beauty_.[56] The general opinion that the Corinthian capital was taken from a basket and dock leaves, may be supported on the same grounds." This leads him to one of his favourite ideas, a new order of architecture. HINTS FOR A NEW CAPITAL. [Illustration: DESIGNS FOR CAPITALS.] Three of the examples are selected from the most grotesque and ridiculous objects; the other two from flowers; and the Bohemian feathers seem slight essays to prove what he frequently advanced, that though he considered the ancient orders with reverence, yet being the productions of men, men might without heresy venture to vary from them. He remarks: "That churches, palaces, prisons, common houses, and summer houses might be built more in distinct characters than they are, by contriving orders suitable to each; whereas, were a modern architect to build a palace in Lapland or the West Indies, Palladio must be his guide, nor would he dare to stir a step without his book."