these arts themselves would be imperfect without THEIR ornaments.

Though we by no means ought to rank these with positive and

substantial beauties, yet it must be allowed that a knowledge of

both is essentially requisite towards forming a complete, whole,

and perfect taste. It is in reality from the ornaments that arts

receive their peculiar character and complexion; we may add that in

them we find the characteristical mark of a national taste, as by

throwing up a feather in the air we know which way the wind blows,

better than by a more heavy matter.

The striking distinction between the works of the Roman, Bolognian,

and Venetian schools, consists more in that general effect which is

produced by colours than in the more profound excellences of the

art; at least it is from thence that each is distinguished and

known at first sight. As it is the ornaments rather than the

proportions of architecture which at the first glance distinguish

the different orders from each other; the Doric is known by its

triglyphs, the Ionic by its volutes, and the Corinthian by its

acanthus.

What distinguishes oratory from a cold narration, is a more liberal

though chaste use of these ornaments which go under the name of

figurative and metaphorical expressions; and poetry distinguishes

itself from oratory by words and expressions still more ardent and

glowing. What separates and distinguishes poetry is more

particularly the ornament of VERSE; it is this which gives it its

character, and is an essential, without which it cannot exist.

Custom has appropriated different metre to different kinds of

composition, in which the world is not perfectly agreed. In

England the dispute is not yet settled which is to be preferred,

rhyme or blank verse. But however we disagree about what these

metrical ornaments shall be, that some metre is essentially

necessary is universally acknowledged.