Elements of the philosophy of the human mind. By Dugald Stewart. Rev. and abridged, with critical and explanatory notes, for the use of colleges and schools. By Francis Bowen ...

234 TIHE INFLUENCE OF CASUAL ASSOCIATIONS.
that the simplest style is that which continues longest to please,
and which pleases most universally. In the writings of Mr.
Harris, there is a certain classical air which will always have
many admirers, while ancient learning continues to be cultivated,
but which, to a mere English reader, appears somewhat unnatural and ungraceful, when compared with the composition of
Swift or of Addison.
Injfuence of classical associations on the carts. - The analogy
of the arts of statuary and painting may be of use in illustrating
these remarks. The influence of ancient times has extended
to these, as well as to the art of writing; and, in this case, no
less than in the other, the transcendent power of genius has
established a propriety of choice in matters of indifference, and
has, perhaps, consecrated in the opinion of mankind some of its
own caprices.
" Many of the ornaments of art," says Sir Joshua Reynolds,
"those at least for which no reason can be given, are transmitted
to us, are adopted, and acquire their consequence from the
company in which we have been used to see them. As Greece
and Rome are the fountains from whence have flowed all kinds
of excellence, to that veneration which they have a right to
claim for the pleasure and knowledge which they have afforded
us, we voluntarily add our approbation of every ornament and
every custom that belonged to them, even to the fashion of their
dress. For it may be observed, that, not satisfied with them in
their own place, we make no difficulty of dressing statues of
modern heroes or senators in the fashion of the Roman armor,
or peaceful robe, and even go so far as hardly to bear a statue
in any other drapery.
"The figures of the great men of those nations have come
down to us in sculpture. In sculpture remain almost all the
excellent specimens of ancient art. We have so far associated
personal dignity to the persons thus represented, and the truth
of art to their manner of representation, that it is not in our
power any longer to separate them. This is not so in painting,
because, having no excellent ancient portraits, that connection
was never formed. Indeed, we could no more venture to paint