More interesting (and readable) than expected but largely incomprehensible. Back in 1966, my sister gave me an original print (1753) of the Analysis of Beauty from a large book of Hogarth's etchings. It wasn't until recently, when trying to decide what to throw out, that I thought I'd better find out more about this curious collection of illustrations. The print I have is at the front of this book without the peripheral illustrations that make up most of the illustrations for the book. For Hogarth there is a curvaceous line of beauty that is enhanced (or not) by qualities he identifies as: fitness, variety, uniformity, simplicity, intricacy and quantity. There are moments when the usefulness of this line becomes bizarre. Not least when he offers a remedy for children with lowered heads

..an ugly habit prevented, at a proper age, by fastening a ribbon to a quantity of platted hair, or to the cap as it may be kept fast in its place, and the other end to the back of the coat, as figure 5 plate 31, as such a length as may prevent them drawing their chins into their necks; p.233-234.

Hogarth is not the only person to attempt an understand of what makes us respond so some things as beautiful and others as ugly. My favourite theorist is Christopher Alexander. In his 4 volume epic [b:The Nature of Order: An Essay on the Art of Building and the Nature of the Universe|3131171|The Nature of Order An Essay on the Art of Building and the Nature of the Universe (4 Volume Set)|Christopher W. Alexander|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1328004160l/3131171._SX50_.jpg|2726766], he proposes 15 fundamental properties that help us identify a living work (as opposed to a dead one). These are as follows:

1. Levels of scale
   
2. Strong centers
   
3. Thick boundaries
   
4. Alternating repetition
   
5. Positive space
   
6. Good shape
   
7. Local symmetries
   
8. Deep interlock and ambiguity
   
9. Contrast
   
10. Gradients
    
11. Roughness
    
12. Echoes
    
13. The void
    
14. Simplicity and inner calm
    
15. Not-separateness
    

While there are parallels with Hogarth's qualities, his illustrated explanations do not necessarily lead to aha moments. In part, this could be my lack of familiarity with his meandering sentences, but although I tried, I could not follow his reasoning. ( )

This book outlines Hogarth's ideas on what constitutes a beautiful composition in painting and drawing--light and shadow, simplicity and complexity, proportion and action.