Abstract

The dominant feature of eighteenth-century aesthetic is the inquiry and discussion concerning the theory of “taste.” There is material or bibliographical evidence of this in the rapid sequence of treatises, essays, inquiries, observations, and controversies on this subject, extending from the close of the seventeenth to the last years of the eighteenth century, and bearing the names, in France, of Dacier, Bellegarde, Bouhours, Rollin, Seran de la Tour, Trublet, Formey, Bitaubé, Marmontel, and, still more eminent, of Montesquieu, Voltaire, d’Alembert; in England, of Addison, Hume, Gerard, Home, Burke, Priestley, Blair, Beattie, Percival, Reid, Alison; in Italy, of Muratori, Calepio, Pagano, Corniani; in Germany, of Thomasius, J. U. König, Bodmer, A. von Schlegel, Wegelin, Heyne, Herz, Eberhard, J. C. König, and, by German influence in Hungary, Szardahely; and, greatest of all, Immanuel Kant, whose Critique of Judgment consists in the main of a critique of the aesthetic judgment of taste