 Furthermore, if Hume regards beauty as a dispositional property, he has a model close at hand in Hutcheson’s analysis. But Hume avoids offering any such account. Aside from a willingness to identify several ways that works of art must fail to please refined taste, Hume does very little to advance the traditional and familiar project of criticism, the stipulation of rules for successful art. Granted, he endorses the existence of such rules (SOT, 269–273) and provisionally suggests (SOT, 273) that they serve as our standard of taste, a point explored by Brown (1938), Jones (1976, 2009), Shelley (1994), and Costelloe (2007, pp. 3–17). However, he does not provide an organized or dedicated presentation of the properties of objects that regularly cause the sentiment of approbation. Costelloe (2018, pp. 161–170) has nonetheless extracted three such principles from Hume’s discussions of poetry. First, artistic depictions must be grounded in what is familiar or, at the very least, plausible. Second, artworks must be constrained by coherence in their imaginative associations. Third, simplicity is preferable to “excessive ornamentation and artifice” (Costelloe 2018, 167). At the same time, Hume recognizes that any established correlation between sentiment and objective properties might be defeated by the next example that we encounter (SOT, 270). Despite the existence of “general principles of approbation or blame,” taste depends on too many variables (“incidents and situations”) to offer a detailed dispositional analysis (SOT, 271).