greater perfection in its operations; and can pronounce, without danger of mistake, concerning the merits of each performance. In a word, the same address and dexterity, which practice gives to the execution of any work, is also acquired, by the same means, in the judging of it.
So advantageous is practice to the discernment of beauty, that before we can pronounce judgment on any work of importance, it will even be requisite, that that very individual performance be more than once perused by us, and be surveyed in different lights, with attention and deliberation. There is a flutter or hurry of thought, which attends the first perusal of any piece, and which confounds the genuin sentiment of beauty. The reference of the parts is not discerned: The true characters of style are little distinguished: The several perfections and defects seem wrapped up in a species of confusion, and present themselves indistinctly to the imagination. Not to mention, that there is a species of beauty, which, as it is florid and superficial, pleases at first; but being found incompatible with a just expression either of reason or passion, soon palls upon the taste, and is then rejected with disdain, at least rated at a much lower value.
It
