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resisting the authority of others； leaves open every avenue to singularity；
vanity； self…conceit； obstinacy； and many other vices； all tending to warp
the judgment and prevent the natural operation of his faculties。
This submission to others is a deference which we owe； and indeed are
forced involuntarily to pay。
In fact we are never satisfied with our opinions till they are ratified and
confirmed by the suffrages of the rest of mankind。 We dispute and
wrangle for ever； we endeavour to get men to come to us when we do not
go to them。
He therefore who is acquainted with the works which have pleased
different ages and different countries； and has formed his opinion on them；
has more materials and more means of knowing what is analogous to the
mind of man than he who is conversant only with the works of his own
age or country。 What has pleased； and continues to please； is likely to
please again： hence are derived the rules of art； and on this immovable
foundation they must ever stand。
This search and study of the history of the mind ought not to be
confined to one art only。 It is by the analogy that one art bears to another
that many things are ascertained which either were but faintly seen； or；
perhaps； would not have been discovered at all if the inventor had not
received the first hints from the practices of a sister art on a similar
occasion。 The frequent allusions which every man who treats of any art
is obliged to draw from others in order to illustrate and confirm his
principles； sufficiently show their near connection and inseparable
relation。
All arts having the same general end； which is to please； and
addressing themselves to the same faculties through the medium of the
senses； it follows that their rules and principles must have as great affinity
as the different materials and the different organs or vehicles by which
they pass to the mind will permit them to retain。
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We may therefore conclude that the real substance； as it may be called；
of what goes under the name of taste； is fixed and established in the nature
of things； that there are certain and regular causes by which the
imagination and passions of men are affected； and that the knowledge of
these causes is acquired by a laborious and diligent investigation of nature；
and by the same slow progress as wisdom or knowledge of every kind；
however instantaneous its operations may appear when thus acquired。
It has been often observed that the good and virtuous man alone can
acquire this true or just relish； even of works of art。 This opinion will not
appear entirely without foundation when we consider that the same habit
of mind which is acquired by our search after truth in the more serious
duties of life； is only transferred to the pursuit of lighter amusements： the
same disposition； the same desire to find something steady； substantial；
and durable； on which the mind can lean； as it were； and rest with safety。
The subject only is changed。 We pursue the same method in our search
after the idea of beauty and perfection in each； of virtue； by looking
forwards beyond ourselves to society； and to the whole； of arts； by
extending our views in the same manner to all ages and all times。
Every art； like our own； has in its composition fluctuating as well as
fixed principles。 It is an attentive inquiry into their difference that will
enable us to determine how far we are influenced by custom and habit； and
what is fixed in the nature of things。
To distinguish how much has solid foundation； we may have recourse
to the same proof by which some hold wit ought to be triedwhether it
preserves itself when translated。 That wit is false which can subsist only
in one language； and that picture which pleases only one age or one nation；
owes its reception to some local or accidental association of ideas。
We may apply this to every custom and habit of life。 Thus the
general principles of urbanity； politeness； or civility； have been ever the
same in all nations； but the mode in which they are dressed is continually
varying。 The general idea of showing respect is by making yourself less：
but the manner； whether by bowing the body； kneeling； prostration； pulling
off the upper part of our dress； or taking away the lower； is a matter of
habit。 It would be unjust to conclude that all ornaments； because they
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were at first arbitrarily contrived； are therefore undeserving of our
attention； on the contrary； he who neglects the cultivation of those
ornaments； acts contrarily to nature and reason。 As life would be
imperfect without its highest ornaments； the arts； so these arts themselves
would be imperfect without THEIR ornaments。
Though we by no means ought to rank these with positive and
substantial beauties； yet it must be allowed that a knowledge of both is
essentially requisite towards forming a complete； whole； and perfect taste。
It is in reality from the ornaments that arts receive their peculiar character
and complexion； we may add that in them we find the characteristical
mark of a national taste； as by throwing up a feather in the air we know
which way the wind blows； better than by a more heavy matter。
The striking distinction between the works of the Roman； Bolognian；
and Venetian schools； consists more in that general effect which is
produced by colours than in the more profound excellences of the art； at
least it is from thence that each is distinguished and known at first sight。
As it is the ornaments rather than the proportions of architecture which at
the first glance distinguish the different orders from each other； the Doric
is known by its triglyphs； the Ionic by its volutes； and the Corinthian by its
acanthus。
What distinguishes oratory from a cold narration； is a more liberal
though chaste use of these