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eas。
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 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 ornaments which go under the name of figurative and metaphorical expressions； and poetry distinguishes itself from oratory by words and expressions still more ardent and glowing。 What separates and distinguishes poetry is more particularly the ornament of VERSE； it is this which gives it its character； and is an essential； without which it cannot exist。 Custom has appropriated different metre to different kinds of composition； in which the world is not perfectly agreed。 In England the dispute is not yet settled which is to be preferred； rhyme or blank verse。 But however we disagree about what these metrical ornaments shall be； that some metre is essentially necessary is universally acknowledged。
In poetry or eloquence； to determine how far figurative or metaphorical language may proceed； and when it begins to be affectation or beside the truth； must be determined by taste； though this taste we must never forget is regulated and formed by the presiding feelings of mankind； by those works which have approved themselves to all times and all persons。
Thus； though eloquence has undoubtedly an essential and intrinsic excellence； and immovable principles common to all languages； founded in the nature of our passions and affections； yet it has its ornaments and modes of address which are merely arbitrary。 What is approved in the Eastern nations as grand and majestic； would be considered by the Greeks and Romans as turgid and inflated； and they； in return； would be thought by the Orientals to express themselves in a cold and insipid manner。
We may add likewise to the credit of ornaments； that it is by their means that art itself accomplishes its purpose。 Fresnoy calls colouring； which is one of the chief ornaments of painting； lena sororis； that which procures lovers and admirers to the more valuable excellences of the art。
It appears to be the same right turn of mind which enables a man to acquire the TRUTH； or the just idea of what is right in the ornaments； as in the more stable principles of art。 It has still the same centre of perfection； though it is the centre of a smaller circle。
To illustrate this by the fashion of dress； in which there is allowed to be a good or； bad taste。 The component parts of dress are continually changing from great to little； from short to long； but the general form still remains； it is still the same general dress which is comparatively fixed； though on a very slender foundation； but it is on this which fashion must rest。 He who invents with the most success； or dresses in； the best taste； would probably； from the same sagacity employed to greater purposes； have discovered equal skill； or have formed the same correct taste in the highest labours of art。
I have mentioned taste in dress； which is certainly one of the lowest subjects to which this word is applied； yet； as I have before observed； there is a right even here； however narrow its foundation respecting the fashion of any particular nation。 But we have still more slender means of determining； in regard to the different customs of different ages or countries； to which to give the preference； since they seem to be all equally removed from nature。
If an European； when he has cut off his beard； and put false hair on his head； or bound up his own natural hair in regular hard knots； as unlike nature as he can possibly make it； and having rendered them immovable by the help of the fat of hogs； has covered the whole with flour； laid on by a machine with the utmost regularity； if； when thus attired he issues forth； he meets a Cherokee Indian； who has bestowed as much time at his toilet； and laid on with equal care and attention his yellow and red ochre on particular parts of his forehead or cheeks； as he judges most becoming； whoever despises the other for this attention to the fashion of his country； whichever of these two first feels himself provoked to laugh； is the barbarian。
All these fashions are very innocent； neither worth disquisition； nor any endeavour to alter them； as the change would； in all probability； be equally distant from nature。 The only circumstances against which indignation may reasonably be moved； are where the operation is painful or destructive of health； such as is practised at Otahaiti； and the straight lacing of the English ladies； of the last of which； how destructive it must be to health and long life； the professor of anatomy took an opportunity of proving a few days since in this Academy。
It is in dress as in things of greater consequence。 Fashions originate from those only who have the high and powerful advantages of rank； birth； and fortune； as many of the ornaments of art； those at least for which no reason can be given； are transmitted to us； are adopted； and acquire their consequence from the company in which we have been used to see them。 As Greece and Rome are the fountains from whence have flowed all kinds of excellence； to that veneration which they have a right to claim for the pleasure and knowledge which they have afforded us； we voluntarily add our approbation of every ornament and every custom that belonged to them； even to the fashion of their dress。 For it may be observed that； not satisfied with them in their own place； we make no difficulty of dressing statues of modern heroes or senators in the fashion of the Roman armour or peaceful robe； we go so far as hardly to bear a statue in any other drapery。
The figures of the great men of those nations have come down to us in sculpture。 In sculpture remain almost all the excellent specimens of ancient art。 We have so far associated personal dignity to the persons thus represented； and the truth of art to their manner of representation； that it is not in our power any longer to separate them。 This is not so in painting； because； having no excellent ancient portraits； that connection was never formed。 Indeed； we could no more venture to paint a general officer in a Roman military habit； than we could make a statue in the present uniform。 But since we have no ancient portraits； to show how ready we are to adopt those kind of prejudices； we make the best authority among the moderns serve the same purpose。 The great variety of excellent portraits with which Vandyke has enriched this nation； we are not content to admire for their real excellence； but extend our approbation even to the dress which happened to be the fashion of that age。 We all very well remember how common it was a few years ago for portraits to be drawn in this Gothic dress； and this custom is not yet entirely laid aside。 By this means it must be acknowledged very ordinary pictures acquired something of the air and effect of the works of Vandyke； and appeared therefore at first sight to be better pictures than they really were； they appeared so； however； to those only who had the means of making this association； for when made； it was irresistible。 But this association is nature； and refers to that Secondary truth that comes from conformity to general prejudice and opinion； it is therefore not merely fantastical。 Besides the prejudice which we have in favour of ancient dresses； there may be likewise other reasons； amongst which we may justly rank the simplicity of them； consisting of little more than one single piece of drapery；