"The 'Hercules' by Glycon (fig. 1) hath all its parts finely fitted for purposes of the utmost strength that the texture of the human form will bear. The back, breast, and shoulders have huge bones, and muscles adequate to the supposed active strength of its upper parts; but as less strength was required for the lower parts, the judicious sculptor, contrary to all modern rule of enlarging every part in proportion, lessened the size of the muscles gradually down towards the feet, and for the same reason made the neck larger in circumference than any part of the head; otherwise the figure would have been burdened with an unnecessary weight, which would have been a drawback from his strength, and, in consequence of that, from his characteristic beauty. These seeming faults, which show the superior anatomical knowledge as well as judgment of the ancients, are not to be found in the leaden imitations near Hyde Park." The bluff and boisterous Henry VIII. is described in the same volume as forming a complete X with his legs and arms; and the pert and prim dancing-master is so accomplished a person, that were he to see his scholar in the easy and gracefully-turned attitude of the Antinous, he would cry shame! tell him he looked as crooked as a ram's horn, and bid him hold up his head, as he himself did. This figure is said to be intended for Essex the dancing-master. The very different position in which these three strongly contrasted characters place their legs and feet is worthy of observation. CHARLES I., ITALIAN JUPITER, ETC. [Illustration: I. CHARLES I. II. HENRIETTA MARIA. III. GROTESQUE ORNAMENT. IV. ITALIAN JUPITER.] These figures, as well as the preceding, are copied from sketches in the MS. of the _Analysis_; the Italian Jove, grasping a thunderbolt, is intended for Monsieur Desnoyer dancing in a grand ballet. A reduced copy of the figure is in the first plate to the _Analysis_, placed as a companion to Quin in the character of Brutus; and it must be acknowledged that the English actor, in a wig which Gorgon's self might own, is as fair a representative of a Roman general as the dancer is of a deity. The figures 1 and 2 are from Vandyke's portraits of Charles I. and Henrietta Maria. The former is copied from one of that great painter's portraits, and almost wholly made up of straight lines; the latter, though drawn with an easy and elegant air, Hogarth considers as not composed on the principle of the waving line, which he says Vandyke seems never to have thought of. Thus does he characterize that artist in the page that faced the sketches:--