Of HISTORICAL COMPOSITION. 209 



they muft have previoufly difcerned. In fpite of thofe diverfi- 

 ties in point of manner, and gradations in point of merit, which 

 neceflarily take place among a number of writers, the leading 

 characters of this ftandard muft be the fame to them all. 

 A new proof may be thus had, that there is as certainly, in the 

 nature of things, an immutable difference between beauty and 

 deformity, as between truth and falfehood ; that the principle 

 of tafte is more confident in its decifions than is generally fup- 

 pofed ; and that, in all the fine arts, this principle is gratified 

 when we obferve, and offended when we neglect, certain laws 

 which are the bafis of juft execution, and of found criticifm in- 

 each. 



END OF THE FIRST VOLUME. 



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