we shall be continually busied and paddling in whatever is ridiculous, faulty, and vicious in life; whereas there are those to be found with whom we should be in the constant pursuit and study of all that gives a value and a dignity to human nature." [Account of a Series of Pictures in the Great Boom of the Society of Arts, Manufactures, and Commerce, at the Adelphi, by James Barry, R.A., Professor of Painting to the Royal Academy, reprinted in the last quarto edition of his works.] "-- --It must be honestly confessed, that in what is called knowledge of the figure, foreigners have justly observed," &c.
It is a secret well known to the professors of the art and mystery of criticism, to insist upon what they do not find in a man's works, and to pass over in silence what they do.

That Hogarth did not draw the naked figure so well as Michael Angelo might be allowed, especially as "examples of the naked," as Mr.Barry acknowledges, "rarely (he might almost have said never) occur in his subjects;" and that his figures under their draperies do not discover all the fine graces of an Antinoues or an Apollo, may be conceded likewise; perhaps it was more suitable to his purpose to represent the average forms of mankind in the mediocrity (as Mr.Burke expresses it) of the age in which he lived: but that his figures in general, and in his best subjects, are so glaringly incorrect as is here insinuated, I dare trust my own eye so far as positively to deny the fact.

And there is one part of the figure in which Hogarth is allowed to have excelled, which these foreigners seem to have overlooked, or perhaps calculating from its proportion to the whole (a seventh or an eighth, I forget which,) deemed it of trifling importance; I mean the human face; a small part, reckoning by geographical inches, in the map of man's body, but here it is that the painter of expression must condense the wonders of his skill, even at the expense of neglecting the "jonctures and other difficulties of drawing in the limbs," which it must be a cold eye that, in the interest so strongly demanded by Hogarth's countenances, has leisure to survey and censure.
"The line of art pursued by my very ingenious predecessor and brother Academician, Mr.Penny." The first impression caused in me by reading this passage was an eager desire to know who this Mr.Penny was.

This great surpasser of Hogarth in the "delicacy of his relish," and the "line which he pursued," where is he, what are his works, what has he to show?
In vain I tried to recollect, till by happily putting the question to a friend who is more conversant in the works of the illustrious obscure than myself, I learnt that he was the painter of a _Death of Wolfe_ which missed the prize the year that the celebrated picture of West on the same subject obtained it; that he also made a picture of the _Marquis of Granby relieving a Sick Soldier_; moreover, that he was the inventor of two pictures of _Suspended and Restored Animation_, which I now remember to have seen in the Exhibition some years since, and the prints from which are still extant in good men's houses.
This, then, I suppose, is the line of subjects in which Mr.Penny was so much superior to Hogarth.

I confess I am not of that opinion.