The Analysis of Beauty. William Hogarth

for the copy, that hath been first made on the original; by which means, the situation of every part of the picture is mechanically seen, and easily transferred) may truly be said to be somewhat of the same kind with what has been here proposed, but that one is done upon a flat surface, the other upon a solid; and that the new scheme differs in its application, and may be of a much more useful and extensive nature than the old one.

      But it is time now to have done with the introduction: and I shall proceed to consider the fundamental principles, which are generally allowed to give elegance and beauty, when duly blended together, to compositions of all kinds whatever; and point out to my readers, the particular force of each, in those compositions in nature and art, which seem most to please and entertain the eye, and give that grace and beauty, which is the subject of this enquiry. The principles I mean, are fitness, variety, uniformity, simplicity, intricacy and quantity;——all which co-operate in the production of beauty, mutually correcting and restraining each other occasionally.

      CHAPTER I.

      Of fitness.

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      Fitness of the parts to the design for which every individual thing is form'd, either by art or nature, is first to be consider'd, as it is of the greatest consequence to the beauty of the whole. This is so evident, that even the sense of seeing, the great inlet of beauty, is itself so strongly bias'd by it, that if the mind, on account of this kind of value in a form, esteem it beautiful, tho' on all other considerations it be not so; the eye grows insensible of its want of beauty, and even begins to be pleas'd, especially after it has been a considerable time acquainted with it.

      It is well known on the other hand, that forms of great elegance often disgust the eye by being improperly applied. Thus, twisted columns are undoubtedly ornamental; but as they convey an idea of weakness, they always displease, when they are improperly made use of as supports to any thing that is bulky, or appears heavy.

      The bulks and proportions of objects are govern'd by fitness and propriety. It is this that has establish'd the size and proportion of chairs, tables, and all sorts of utensils and furniture. It is this that has fix'd the dimensions of pillars, arches, &c. for the support of great weight, and so regulated all the orders in architecture, as well as the sizes of windows and doors, &c. Thus though a building were ever so large, the steps of the stairs, the seats in the windows must be continued of their usual heights, or they would lose their beauty with their fitness: and in ship-building the dimensions of every part are confin'd and regulated by fitness for sailing. When a vessel sails well, the sailors always call her a beauty; the two ideas have such a connexion!

      The general dimensions of the parts of the human body are adapted thus to the uses they are design'd for. The trunk is the most capacious on account of the quantity of its contents, and the thigh is larger than the leg, because it has both the leg and foot to move, the leg only the foot, &c.

      

      Fitness of parts also constitutes and distinguishes in a great measure the characteristics of objects; as for example, the race-horse differs as much in quality, or character, from the war-horse, as to its figure, as the Hercules from the Mercury.

      The race-horse, having all its parts of such dimensions as best fit the purposes of speed, acquires on that account a consistent character of one sort of beauty. To illustrate this, suppose the beautiful head and gracefully-turn'd neck of the war-horse were placed on the shoulders of the race-horse, instead of his own aukward straight one: it would disgust, and deform, instead of adding beauty; because the judgment would condemn it as unfit.

      The Hercules, by Glicon [Fig. 3 p. I], hath all its parts finely fitted for the purposes of the utmost strength, 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, lessen'd 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 [Fig. 4 p. I]; otherwise the figure would have been burden'd with an unnecessary weight, which would have been a draw-back from his strength, and in consequence of that, from its characteristic beauty.

      These seeming faults, which shew the superior anatomical knowledge as well as judgment of the ancients, are not to be found in the leaden imitations of it near Hyde-park. These saturnine genius's imagin'd they knew how to correct such apparent disproportions.

      These few examples may be sufficient to give an idea of what I mean (and would have understood) by the beauty of fitness, or propriety.

      CHAPTER II.

      Of Variety.

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      How great a share variety has in producing beauty may be seen in the ornamental part of nature.

      The shapes and colours of plants, flowers, leaves, the paintings in butterflies wings, shells, &c. seem of little other intended use, than that of entertaining the eye with the pleasure of variety.

      All the senses delight in it, and equally are averse to sameness. The ear is as much offended with one even continued note, as the eye is with being fix'd to a point, or to the view of a dead wall.

      Yet when the eye is glutted with a succession of variety, it finds relief in a certain degree of sameness; and even plain space becomes agreeable, and properly introduced, and contrasted with variety, adds to it more variety.

      

      I mean here, and every where indeed, a composed variety; for variety uncomposed, and without design, is confusion and deformity.

      Observe, that a gradual lessening is a kind of varying that gives beauty. The pyramid diminishing from its basis to its point, and the scroll or voluta, gradually lessening to its center, are beautiful forms. So also objects that only seem to do so, though in fact they do not, have equal beauty: thus perspective views, and particularly those of buildings, are always pleasing to the eye.

      The little ship, between figure 47 and 88 [p. I], suppos'd moving along the shore even with the eye, might have its top and bottom bounded by two lines at equal distances all the way, as A; but if the ship puts out to sea, these lines at top and bottom would seem to vary and meet each other by degrees, as B, in the point C, which is in the line where the sky and water meets, call'd the horizon. Thus much of the manner of perspectives adding beauty, by seemingly varying otherwise unvaried forms, I thought, might be acceptable to those, who have not learnt perspective.

      CHAPTER III.

      Of Uniformity, Regularity, or Symmetry.

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      It may be imagined that the greatest part of the effects of beauty results from the symmetry of parts in the object, which is beautiful: but I am very well persuaded, this prevailing notion will soon appear to have little or no foundation.

      It may indeed have properties of greater consequence, such as propriety, fitness, and use; and yet but little serve the purposes of pleasing the eye, merely on the score of beauty.

      We have, indeed, in our nature a love of imitation from our infancy,