The Analysis of Beauty: Written with a view of fixing the fluctuating ideas of tasteHogarth, William
Philosophy
The Analysis of Beauty: Written with a view of fixing the fluctuating ideas of taste
Hogarth, William
Aesthetics -- Early works to 1800
But perhaps even the word _character, as it relates to form,_ may
not be quite understood by every one, tho' it is so frequently used:
nor do I remember to have seen it explained any where. Therefore on
this account--and also as it will further shew the use of thinking of
form and motion together, it will not be improper to observe,--that
notwithstanding a character, in this sense, chiefly depends on a figure
being remarkable as to its form, either in some particular part, or
altogether; yet surely no figure, be it ever so singular, can be
perfectly conceived as a character, till we find it connected with some
remarkable circumstance or cause, for such particularity of appearance;
for instance, a fat bloted person doth not call to mind the character
of a Silenus, till we have joined the idea of voluptuousness with it;
so likewise strength to support, and clumsiness of figure, are united,
as well in the character of an Atlas as in a porter.
When we consider the great weight chairmen often have to carry, do we
not readily consent that there is a propriety and fitness in the tuscan
order of their legs, by which they properly become _characters_ as to
figure?
Watermen too, are of a distinct cast, or character, whose legs are
no less remarkable for their smallness: for as there is naturally the
greatest call for nutriment to the parts that are most exercised, so of
course these that lye so much stretched out, are apt to dwindle, or not
grow to their full size. There is scarcely a waterman that rows upon
the Thames, whose figure doth not confirm this observation. Therefore
were I to paint the character of a Charon, I would thus distinguish
his make from that of a common man's; and, in spite of the word _low_,
venture to give him a broad pair of shoulders, and spindle shanks,
whether I had the authority of an antique statue, or basso-relievo, for
it or not.
May be, I cannot throw a stronger light on what has been hitherto
said of proportion, than by animadverting on a remarkable beauty in
the Apollo-belvedere; which hath given it the preference even to the
Antinous: I mean a super-addition of _greatness_, to at least as much
beauty and grace, as is found in the latter.
Public-domain text, read in full here on John Shaqi.
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