"The dialogue between Cleopatra and the Messenger, relative to the person of Octavia, proves that Shakspeare, who seems to have seen through all nature, saw this in the same light."[60] To No. 3 he thus alludes in his _Analysis_, p. 128, but has not engraved it in his explanatory plate, though it would certainly have been a better example than his old man's head, fig. 98:-- "Human nature can hardly be represented more debased than in the character of the Silenus, where the bulging line runs through all the features of the face, as well as the other parts of this swinish body; whereas, in the satyr of the wood, though the ancients have joined the brute with the man, we still see preserved an elegant display of serpentine lines that renders it graceful." His manuscript continues:-- "The fine airs and graceful turns and windings of such a head were produced by adhering to this line; and it was this Mr. Pope conceived of Raphael and Guido in his epistle to Mr. Jarvis, the king's painter, or he meant nothing: 'Each heavenly piece unwearied we compare, Match Raphael's grace with thy loved Guido's air, Carracci's strength, Correggio's softer line, Paulo's free stroke,' etc. "We must not seek for examples in any of the works Mr. Pope recommends, for whatever was painted by his friends had his unqualified praise.[61] He would have said the same of Mr. Kent. Poets are the fountains of flattery, as kings are the fountains of honour. The former can with as much ease make one man an inspired painter, as the latter can create another right honourable, without either of the parties producing their credentials."[62] HERCULES, HENRY VIII., AND A FRENCH DANCING-MASTER. [Illustration: HERCULES, HENRY 8^{TH} & A FRENCH DANCING MASTER.] In Hogarth's manuscript of the _Analysis_, facing the chapter on Fitness, I found a red-chalk sketch of these three figures, which (with slight variations) he has introduced in his illustrative prints. They are copied as an example of the manner in which he sketched his first thoughts: they seem placed together to contrast the easy and natural turn of the Hercules with the stiff and artificial attitudes assumed by the other two figures, in both of which uniformity is the leading principle. Relative to this, Hogarth, in p. 20 of the _Analysis_, puts the following query:-- "If uniform objects were agreeable, why is there such care taken to contrast and vary all the limbs of a statue? Were the eye pleased with uniformity, the picture of Henry VIII. would be preferable to the finely contrasted figures of Guido and Correggio; and the Antinous' easy sway must submit to the stiff and straight figure of the dancing-master.