We see a ghost: Hogarth's satire on Methodists and Connoisseurs

66. Hildebrand Jacob, Of the Sister Arts, an Essay (London: William Lewis, 1734), 9.

67. Roger de Piles, "De l'enthousiasme," in Cours de peinture par principes (Paris: J. Estienne, 1708), 114 ff.; in English as The Principles of Painting (London: J. Osborn, 1743), 70 ff.

68. Friedrich Melchior von Grimm, "Correspondance Litteraire," Paris, Bibl. Nat., NAF 12961, fol. 54, quoted in Jean Seznec, "Diderot and Le Genie du Christianisme," Journal of the Warburg and Courtauld Institutes 15 (1952): 231.

69. Joshua Reynolds, in The Idler, ed. Samuel Johnson, vol. 2 (London: J. Newbery, 1761), 152. See Paulson, 1971 (as in n. 35), 298; and idem, 1993, 257, who thinks that Reynolds's Idler essays nos. 76, 79, and 82 deeply influenced Enthusiasm Delineated.

70. Samuel Foote, The Works with Remarks and an Essay by Jon Bee, two vols. in one (Hildesheim: Georg Olms, 1974), vol. 2, ciii n.

71. John Byrom, Enthusiasm: A Poetical Essay, in a Letter to a Friend in Town (London: W. Owen, 1752). Byrom wrote: "Critics, with all their learning recondite, / Poets, that sev'rally be-mused write; / The virtuosos, whether great or small; / The connoisseurs, that know the worth of all; / Philosophers, that dictate sentiments, / And politicians, wiser than events; / Such, and such-like, come under the same law, / Altho' their heat be from a flame of straw.... "; Byrom, in The Works of the English Poets, ed. Alexander Chalmers, vol. 15 (London: J.Johnson, 1810), 251.

72. Significantly, in his Analysis of Beauty, Hogarth disagrees with Charles Alphonse Dufresnoy, who, in his Art of Painting, stated that grace is "a rare present, which the artist rather receives from the hand of heaven than from his own industry and studies"; Hogarth, 1955, 6; 1997, 3. At a meeting of the London Society of Arts, Hogarth emphasized "that Genius was Diligence and Attention"; quoted in Paulson, 1993, 200. In his manuscript "Apology for Painters" (ca. 1761), he wrote that in England "Enthusiasm hath not the weight it has abroad," and that, instead, the English artists would create "something more substantial"; William Hogarth, quoted in Michael Kitson, "Hogarth's 'Apology for Painters,'" Walpole Society 41 (1966-68): 97-98.

73. For the problem of depicting the passions, see Brewster Rogerson, "The Art of Painting the Passions," Journal of the History of Ideas 14 (1953): 68-94; Thomas Kirchner, L'expression des passions: Ausdruck als Darstellungsproblem in der franzosischen Kunst und Kunsttheorie des 17. und 18. Jahrhunderts (Mainz: Philipp von Zabern, 1991).

74. See Charles Le Brun, Conference de Monsieur Le Brun, Premier Peintre du Roy de France, Chancelier et Directeur de l'Academie de Peinture et Sculpture, sur l'expression generale et particuliere, enrichie de figures gravies par B. Picart (Amsterdam: J. L. de Lorme, 1698); translated by John Williams as A Method to Learn to Design the Passions Proposed in a Conference on Their General and Particular Expression (London: Printed for the author, 1734). In England, the illustrations in Le Brun's treatise were also used by Hogarth's friend Francis Hayman as models for a folding plate depicting the passions and illustrating lesson 9 in chapter 6 of Robert Dodsley's popular The Preceptor: Containing a General Course of Education, Wherein the First Principles of Polite Learning are Laid Down in a Way Most Suitable for Trying the Genius, and Advancing the Instruction of Youth (London: R. Dodsley, 1748). See Brian Allen, Francis Hayman (New Haven: Yale University Press, 1987), 20, 154, no. 84, fig. 6.