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Mr* Joseph Boult read a Paper, of which the following is an 

 abstract : — 



STANDARDS OF TASTE, 

 SUPPOSITITIOUS AND ARBITRARY. 



The artistic remains of the older antiquity are strongly characterized 

 by the predominance of conventionality of form or action ; the several 

 objects introduced into its pictorial or sculptural efforts are modelled 

 each class upon one type ; kings, eunuchs, slaves, warriors, birds, boats, 

 fishes, woods, and streams, have all their easily-recognised representa- 

 tives, — rude indeed when compared with the natural type, but remark- 

 ably expressive when received as intended, that is conventionally. Even 

 down to the period of Grecian civilization the predominance of this 

 conventionalism may be traced, though greatly refined both in conception 

 and in execution. Winckelmann shows that the Greeks endeavoured to 

 make their heroes impersonations of the ideas associated with them. 



With the artists of the earlier Christian civilization these conventional- 

 isms were not so prevalent, in consequence, probably, of the great 

 multiplication of their demi-gods, from the frequent canonization of saints 

 and martyrs, whose individuality was distinguished less by a conven- 

 tional type than by the story, and the introduction of some accepted 

 symbol, usually the instrument of martyrdom. 



In the enjoyment of a work of art the mind is influenced in two 

 ways, through the judgment and through the imagination. By the 

 former we appreciate the manner in which the mechanical difficulties are 

 surmounted : and in works which yield unalloyed pleasure careful reflec- 

 tion will show that the mind assumes that the conditions requisite to 

 satisfy the judgment are fulfilled ; and where such an assumption is 

 impossible, in so far as the defects of execution obtrude themselves, the 

 imagination is unable to enjoy its peculiar portion. It is not essentijd 

 that the mechanical difficulties are surmounted in a manner positively 

 excellent : it suffices if the execution be relatively good ; that is, as 

 good as the explained or supposed conditions permit. The works of 

 rude and uncultivated people illustrate this observation ; as also those 

 of antiquity, when the conventionalism is accepted at its own value. 



The principle of mathematical proportion is sometimes proposed as 

 a standard of beauty; and in some minds the dislike to speculative 

 uncertainty is so great, that they eagerly accept the assertion of its value. 

 In what is called classical architecture, this principle has been uni- 

 versally received since the recovery of the books of Vitruvius ; though 

 its application has varied, as increased research has suggested modified- 



