| Summary: | The first part of this thesis considers the origins and bases of theories of costume found in theoretical literature on art dating from the Renaissance to the eighteenth century. Taking a didactic view of art, Continental and English theorists borrowed rules of classical rhetoric, including the concept of decorum, to explain the expressive concerns of painting. The theorists believed that decorum, what is most fit and appropriate to an occasion or subject, was expressed through dress. Apparently there was wide acceptance of the belief that costume was an important tool for expression in works of art. Over a period of time, owing to differences in location, political or religious practices, and aesthetics, ideas of what constituted appropriate dress varied. Eventually artists chose dress according to styles appropriate to the hierarchy of painting--historical works, portraiture or genre. === The second part deals with Hogarth's statements on dress in his Analysis of Beauty, and analyzes costumes in selections from his satiric-didactic works, portraits, and history paintings. Although Hogarth's Analysis does not have a strict rhetorical structure, apparently it was rhetorically conceived. Hogarth considered his works of art to be didactic compositions, he viewed dress as means to achieve decorum, and he accepted the rhetorically based hierarchy of styles for painting. In addition, the psychology underlying rhetorical theory was similar to assumptions which formed the basis for Hogarth's aesthetic principles. In eighteenth-century England, artists frequently drew on the expressive arts for didactic ends. Dramatists, writers and painters adopted clothing symbolism to comment on manners and morals of the period. === In his Analysis Hogarth used dress empirically to illustrate his six formally conceived principles of beauty--fitness (decorum), uniformity, variety, simplicity, intricacy, and quantity, which also suggested humour. Many of Hogarth's dress related ideas are similar to the aesthetic concepts of earlier art theorists, such as Alberti, Du Fresnoy, Felibien, De Piles, and Richardson, as well as philosophers, such as Locke, Hume, Addison, and Steele. === From the examination of Hogarth's works of art it is apparent that many of them reveal his dress-related principles of beauty. His satiric-didactic compositions, or what he called modern moral subjects, reflect his principle of fitness more than his portraits or history paintings. His unusual use of contemporary eighteenth-century dress not only aided the moral narrative, but it was appropriate to his subject matter. Dress served as an expressive medium to establish character and communicate eighteenth-century English ideas associated with it. Although Hogarth's small "conversation groups" and many portraits suggest generally worn eighteenth-century dress, a large number of Hogarth's portraits and history paintings reflect styles of dress, such as fancy dress or drapery, popular with eighteenth-century artists. Thus costume may have been appropriate according to the subject matter hierarchy, or custom. === Costume in Hogarth's works of art also expresses his principles of uniformity, variety, simplicity, intricacy, and quantity. According to his theory, these principles can suggest beauty, grace or humour in a painting. In general, dress in Hogarth's works of art serves as a rhetorically, persuasive, didactic tool. The costumes are a language which express ideas associated with particular styles of dress. As a plastic medium costumes were shaped by Hogarth to create forms which expressed his formal theory of beauty and humour. === Source: Dissertation Abstracts International, Volume: 41-05, Section: B, page: 1730. === Thesis (Ph.D.)--The Florida State University, 1980.
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