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conformation from those circumstances, so different ideas of its beauty prevail. The beauty of a Moorish is not exactly the same with that of an English horse. What different ideas are formed in different nations concerning the beauty of the human shape and countenance? A fair complexion is a shocking deformity upon the coast of Guinea. Thick lips and a flat nose are a beauty. In some nations long ears that hang down upon the shoulders are the objects of universal admiration.5 In China if a lady’s foot is so large as to be fit to walk upon, she is regarded as a monster of ugliness. Some of the savage nations in North-America tie four boards round the heads of their children, and thus squeeze them, while the bones are tender and gristly, into a form that is almost perfectly square. Europeans are astonished at the absurd barbarity of this practice, to which some missionaries have imputed the singular stupidity of those nations among whom it prevails. But when they condemn those savages, they do not reflect that the ladies in Europe had, till within these very few years, been endeavouring, for near a century past, to squeeze the beautiful roundness of their natural shape into a square form of the same kind. And that, notwithstanding the many distortions and diseases which this practice was known to occasion, custom had rendered it agreeable among some of the most civilized nations which, perhaps, the world ever beheld.

Such is the system of this learned and ingenious Father, concerning the nature of beauty; of which the whole charm, according to him, would thus seem to arise from its falling in with the habits which custom had impressed upon the imagination, with regard to things of each particular kind. I cannot, however, be induced to believe that our sense even of external beauty is founded altogether on custom. The utility of any form, its fitness for the useful purposes for which it was intended, evidently recommends it, and renders it agreeable to us, independent of custom. Certain colours are more agreeable than others, and give more delight to the eye the first time it ever beholds them. A smooth surface is more agreeable than a rough one. Variety is more pleasing than a tedious undiversified uniformity. Connected variety, in which each new appearance seems to be introduced by what went before it, and in which all the adjoining parts seem to have some natural relation to one another, is more agreeable than a disjointed and disorderly assemblage of unconnected objects. But though I cannot admit that custom is the sole principle of beauty, yet I can so far allow the truth of this ingenious system as to grant, that there is scarce any one external form so beautiful as to please, if quite contrary to custom, and unlike whatever we have been used to in that particular species of things: or so deformed as not to be agreeable, if custom uniformly supports it, and habituates us to see it in every single individual of the kind.

CHAPTER II.

Of the Influence of Custom and Fashion upon Moral Sentiments.

Since our sentiments concerning beauty of every kind, are so much influenced by custom and fashion, it cannot be expected, that those, concerning the beauty of conduct, should be entirely exempted from the dominion of those principles. Their influence here, however, seems to be much less than it is every where else. There is, perhaps, no form of external objects, how absurd and fantastical soever, to which custom will not reconcile us, or which fashion will not render even agreeable. But the characters and conduct of a Nero, or a Claudius, are what no custom will ever reconcile us to, what no fashion will ever render agreeable; but the one will always be the object of dread and hatred; the other of scorn and derision.1 The principles of the imagination, upon which our sense of beauty depends, are of a very nice and delicate nature, and may easily be altered by habit and education: but the sentiments of moral approbation and disapprobation, are founded on the strongest and most vigorous passions of human nature; and