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tremely difficult to dispose them so in a building as to produce any good effect. The mixing them with realities, makes a miserable jumble of truth and fiction.* In a basso-relievo on Antonine's pillar, rain obtained by the prayers of a Christian legion, is expressed by joining to the group of soldiers a rainy Jupiter, with water in abundance falling from his head and beard. De Piles, fond of the conceit, carefully informs his reader, that he must not take this for a real Jupiter, but for a symbol which among the Pagans signified rain: he never once considers that a symbol or emblem ought not to make part of a group representing real objects or real events; but be so detached, as even at first view to appear an emblem. But this is not all, nor the chief point: every emblem ought to be rejected that is not clearly expressive of its meaning; for if it be in any degree obscure, it puzzles, and doth not please. The temples of Ancient and Modern Virtue in the gardens of Stow, appear not at first view emblematical; and when we are informed that they are so, it is not easy to gather their meaning: the spectator sees one temple entire, another in ruins; but without an explanatory inscription, he may guess, but cannot be certain, that the former being dedicated to Ancient Virtue, the latter to Modern Virtue, are intended as a satire upon the present times. On the other hand, a trite emblem, like a trite simile, is disgustful. Nor ought an emblem more than a simile to be founded on low or familiar objects; for if these be not agreeable as well as their meaning, the emblem upon the whole will not be relished. A room in a dwelling-house containing a monument to a deceased friend, is dedicated to Melancholy it has a clock that strikes every minute, to signify how swiftly time passes-upon the

* See Chapter XX. Sect, v.

+ See Chapter VIII.

monument, weeping figures and other hackneyed ornaments commonly found upon tomb-stones, with a stuffed raven in a corner-verses on death, and other serious subjects, inscribed all around.The objects are too familiar, and the artifice too apparent to produce the intended effect.*

The statue of Moses striking a rock from which wate: actually issues, is also in a false taste; for it is mixing reality with representation. Moses himself may bring water out of the rock, but this miracle is too much for his statue. The same objection lies against a cascade where the statue of a watergod pours out of his urn real water.

I am more doubtful whether the same objection likes against the employing statues of animals as supports, that of a Negro, for example, supporting a dial, statues of fish supporting a basin of water, Termes supporting a chimney-piece; for when a stone is used as a support, where is the incongruity, it will be said, to cut it into the form of an animal ? But leaving this doubtful, another objection occurs, That such designs must in some measure be disagreeable, by the appearance of giving pain to a sensitive being.

It is observed above of gardening, that it contributes to rectitude of manners, by inspiring gaiety and benevolence. I add another observation, That both gardening and architecture contribute to the same end, by inspiring a taste for neatness and elegance. In Scotland, the regularity and polish even of a turnpike-road has some influence of this kind upon the low people in the neighbourhood. They

* In the city of Mexico, there was a palace termed the house of affliction, where Montezuma retired upon losing any of his friends, or upon any public calamity. This house was better adjusted to its destination: it inspired a sort of horror: all was black and dismal : small windows shut up with grates, scarce allowing passage to the light.

become fond of regularity and neatness; which is displayed, first upon their yards and little enclosure; and next within doors. A taste for regularity and neatness, thus acquired. is extended by degrees to dress, and even to behaviour and manners. The author of a history of Switzerland, describing the fierce manners of the Plebeians of Bern three or four centuries ago, continually inured to success in war, which made them insolently aim at a change of government in order to establish a pure democracy, observes that no circumstance tended more to sweeten their manners, and to make them fond of peace, than the public buildings carried on by the senate for ornamenting their capital: particularly a fine town-house, and a magnificent church, which to this day, says our author, stands its ground as one of the finest in Europe,

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CHAPTER XXV.

Standard of Taste.

"THAT there is no disputing about taste," meaning taste in its figurative as well as proper sense, is a saying so generally received as to have become a proverb. One thing even at first view is evident, that if the proverb holds true with respect to taste in its proper meaning, it must hold equally true with respect to our other external senses: if the pleasures of the palate disdain a comparative trial, and reject all criticism, the pleasures of touch, of smell, of sound, and even of sight, must be equally privileged. At that rate, a man is not within the reach of censure, even where he prefers the Saracen's head upon a sign-post before the best tablature of Raphael, or a rude Gothic tower before the finest Grecian building: or where he prefers the smell of a rotten carcass before that of the most odoriferous flower, or discords before the most exquisite harmony.

But we cannot stop here. If the pleasures of external sense be exempted from criticism, why not every one of our pleasures, from whatever source derived? if taste in its proper sense cannot be disputed, there is little room for disputing it in its figurative sense. The proverb accordingly comprehends both; and in that large sense may be resolved into the following general proposition, That with respect to the perceptions of sense, by which some objects appear agreeable, some disagreeable,

there is not such a thing as a good or a bad, a right, or a wrong; that every man's taste is to himself an ultimate standard without appeal; and consequently that there is no ground of censure against any one, if such a one there be, who prefers Blackmore before Homer, selfishness before benevolence, or cowardice before magnanimity.

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The proverb in the foregoing examples is indeed carried very far it seems difficult, however, to sap its foundation, or with success to attack it from any quarter: for is not every man equally a judge of what ought to be agreeable or disagreeable to himself? doth it not seem whimsical, and perhaps absurd, to assert, that a man ought not to be pleased when he is, or that he ought to be pleased when he is not ?

This reasoning may perplex, but will never afford conviction: every one of taste will reject it as false, however unqualified to detect the fallacy. At the same time, though no man of taste will assent to the proverb as holding true in every case, no man will affirm that it holds true in no case: objects there are, undoubtedly, that we may like or dislike indifferently, without any imputation upon our taste. Were a philosopher to make a scale for human pleasures, he would not think of making divisions without end; but would rank together many pleasures arising perhaps from different objects, either as equally conducing to happiness, or differing so imperceptibly as to make a separation unnecessary. Nature hath taken this course, at least it appears so to the generality of mankind. There may be subdivisions without end; but we are only sensible of the grosser divisions, comprehending each of them various pleasures equally affecting; to these the proverb is applicable in the strictest sense; for with respect to pleasures of the same rank, what ground can there be for preferring

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