The third and last degree is general ornament and honour, appearing in fashions, arts of decoration, &c. &c. objects which seeming not immediately to affect the interests of humanity, the taste they exhibit in this sphere appears as an uncertain light, sometimes bright and sometimes obscured; or rather as refracted rays of taste, broken by the general love of novelty and superfluity; two principles which, though they are, to a certain degree, essential to exterior ornament, and the sentiment of true taste, are those in which taste always begins to corrupt. To illustrate my meaning: true ornament seems equally to partake of the idea of utility and superfluity, and every sentiment of taste seems equally to partake of the idea of novelty and of custom; for, were the object perfectly familiar to us, we should feel no degree of admiration, without which we could feel no sentiment of taste; and, were it totally new, unlike any thing we had ever seen, it would excite wonder instead of admiration, which is a sentiment as distant from taste as the love of fame is from the love of honour.
This sphere, the last in my scale of the perceptions of taste, and which borders upon every thing that is contrary to its laws, is properly the sphere of Fancy, who seems an undisciplined offspring of Taste; sometimes sporting within the bounds of parental authority, and sometimes beyond them. Fancy seems to bear the same affinity to Taste as Pleasure does to Happiness.
Every object of taste is relative to some principle of excellence from which it derives its power of pleasing; of course, the highest sentiment of taste must exist in the relative principle to our highest object of excellence.
True ornament is, to the eye, what eloquence is to the ear: their principles throughout are one, the truth or beauty of which exists in its exact relation or adaptation to the object it adorns, constituting the just, the true, the beautiful, objects, or qualities, which, in the conscious eye of taste, relate to moral beauty. The perception of the first relation, i.e. the adaptation of any thing ornamental to the object it adorns, may, in a great measure, be learned by habit and general observation; but the higher relation, the second concoction (as one may say) of its principles, the moral relation, is the immediate operation of taste.
Ornament and harmonious sound are pleasing to the corporeal sense, but, when wanting a relative object, please but for a short time; and, if incongruously joined to an object, i.e. to one with which it can have no relation, will, as soon as the understanding perceives the incongruity, become a principle of disgust.
As the virtues differ, in some degree, as the character of the sexes differ,[A] of course so must the sentiment of taste differ. To the man I would give the laws of taste; to the woman, its sensibility. The taste of the former seems more derived from reason; that of the latter from instinct: witness their impulsive maternal affection; that inherent ornament of their sex, modesty; their tender susceptibility of the benevolent virtues, pity, compassion, &c. &c.
[Footnote A: Vide page 23.]
Taste, however, is as far removed from mere instinct as from mere reason. I only mean to say, that the taste of the masculine character is rather on the side of reason, or the understanding; that of the feminine on the side of instinct, and, let me add, imagination. The taste of the one and of the other seems to differ as justice does from mercy, as modesty from virtue, as grace from sublimity, &c. &c. And, as exterior feminine grace is the most perfect visible object of taste, the highest degree of feminine excellence, externally and internally united, must of course constitute woman, the most perfect existing object of taste in the creation.
The cultivation of the social moral affections is the cultivation of taste, and the domestic sphere is the true and almost only one in which it can appear in its highest dignity. It is peculiarly appropriated to feminine taste, and I may say it is absolutely the only one in which it can appear in its true lustre. True taste, particularly the feminine, is retired, calm, modest; it is the private honour of the heart, and is, I imagine, incompatible with the love of fame.
In the present state of society, taste seems to be equally excluded from the highest and from the lowest sphere of life. The one seems to be too much encumbered with artificial imaginary necessities; the other too much encumbered with the real and natural necessities of life, to attend to its cultivation. It is in the former that taste is universally thought to reside, which is because the idea of taste is inseparable from that of honour. It is that, indeed, in which the general taste of the nation is exhibited. It is its face, as I may say, which expresses the internal character of the heart.