William Hogarth, The Bad Taste of the Town
 1724

Strolling Actresses Dressing in a Barn, William Hogarth, 1738 
William Hogarth, Taste in High Life, 1742

•	William Hogarth,
•	self-portrait, 1745
•	The Analysis of Beauty 1753
Hogarth, The Analysis of Beauty: A New Edition, 1772, original edition, 1753 
Hogarth  Hogarth Painting the Comic Muse. c.1757. 
Hogarth, the line of beauty, from Analysis of Beauty, and a quote from “Disinformation and "The Analysis of Beauty" A Project History”
Joe Banks, web, accessed 2009, 
•	In "The Analysis of Beauty" book, William Hogarth explored the aesthetics and symbolism of the sinusoidal "Line of Beauty and Grace" or 'serpentine Line", originally portrayed in his self-portrait of 1745. In his self-portrait Hogarth had depicted a perfect sine-wave, weaving across a painter's palette in place of the brushes and paints that would conventionally have appeared as tools of the artist's trade. 
Analysis of Beauty pg. 25  Accessed through Google Books, (London: R. Showley, 1810 printing)
•	Hogarth wrote that "the eye hath this sort of enjoyment in winding walks, and serpentine rivers, and all sorts of objects, whose forms, as we shall see hereafter, are composed principally of what I call the waving or serpentine lines... intricacy in form, therefore, I shall define to be that peculiarity in the lines, which compose it, that leads the eye a wanton kind of chase, and from the pleasure that gives the mind, intitles it to the name of beautiful". 
William Hogarth
The analysis of beauty. Written with a view of fixing the fluctuating ideas of taste.
London: J. Reeves, 1753

William Hogarth
The Analysis of Beauty, Plate II: The Country Dance 1753

William Hogarth. The Lady's Last Stake. 1758-1759. Oil on canvas. Albright-Knox Art Gallery, Buffalo, NY, USA.
The Prologue to Taste, 1753, which was "Written by Mr GARRICK, And spoken by him in the Character of an Auctioneer":

David Hume, Scottish Philosopher, 1711-1776
The Royal Exchange Building in Edinburgh housing the Custom House on the second
floor. Note: bottom left sign ‘Royal Exchange – Coffee House’ (underground).
Poet, bookseller and wigmaker Allan Ramsay’s [father of painter of Hume] shop in Edinburgh’s High Street, from The Works of Allan Ramsay, Vol. III, 1851

David Hume, portrait by Allan Ramsay ("the Younger"), 1754

Allan Ramsay 1766  “David Hume”
David Hume [Scotland]  "Of the Standard of Taste" 1757
•	It is natural to seek a Standard of Taste:  a rule to reconcile or to confirm or condemn someone’s taste. 
One species of philosophy says this is hopeless
•	All sentiment [feeling] is right because it does not refer and is always real.
•	All determinations of the understanding [judgments of scientific and mathematical fact] are not right for they refer beyond themselves.
–	Here, only one opinion is true.
•	By contrast, sentiment only marks a conformity between the object and the faculties of the mind.

[On this view] beauty is not a quality in things themselves.
–	It exists merely in the mind that contemplates those things.
–	Each mind perceives a different beauty.
–	No one should try to regulate the feelings of others.
–	There is no more real beauty than real sweet.
–	It is fruitless to dispute concerning tastes:  mental as well as bodily.
–	Here, common sense and skeptical philosophy join.
Another species of common sense that opposes, or at least restrains, the first…
–	Ogilby [a writer practically unknown today] is obviously not as great as Milton [a writer still taught in English departments as one of the greats].
–	No one [serious] pays attention to the taste of someone who says Ogilby is as great as Milton:  we say that such people are absurd.
Paradise Lost, John Milton, 1669
From Joseph Addison (1672-1719) 
The Spectator  1739
Bunyan, John (1628-1688)
The Pilgrim's Progress, 1683
None of the rules of composition are fixed by reasonings a priori [there are no rules of taste based on logic alone].
•	The foundation of the rules of [good] composition is experience [Hume's empiricism].
•	Many beauties of poetry are founded on falsehood and fiction.
•	So, reducing every expression to geometry would produce insipid art.
•	Poetry must be confined by rules of art discovered by the author, by genius, or observation.
Irregular writers
–	Irregular writers please not because of their breaking the rules but in spite of this:  the beauties of their works overcome their disgusting blemishes.
–	Ariosto pleases because of the force and clearness of his expression, etc.  [this is Hume's only description of rules of art]  not because of his faults.
–	However, if our pleasure really arose from the parts of his poem we call faults then we should change our rules of criticism.
Ludovico Ariosto (1474-1533) by Titian
Ariosto’s Orlando Furioso
Orlando Furioso The Online Medieval and Classical Library, 
•	OF LOVES and LADIES, KNIGHTS and ARMS, I sing, Of COURTESIES, and many a DARING FEAT; And from those ancient days my story bring, When Moors from Afric[a] passed in hostile fleet, And ravaged France, with Agramant their king, Flushed with his youthful rage and furious heat, Who on king Charles', the Roman emperor's head Had vowed due vengeance for Troyano dead. 

•	In the same strain of Roland will I tell Things unattempted yet in prose or rhyme, On whom strange madness and rank fury fell, A man esteemed so wise in former time; If she, who to like cruel pass has well Nigh brought my feeble wit which fain would climb And hourly wastes my sense, concede me skill And strength my daring promise to fulfil. 

The test of time:  the same Homer pleases today.
–	Authority and prejudice may make some authors popular temporarily.
–	Real genius:  the longer his works endure and more widely spread.
–	Beauties naturally fitted to excite agreeable sentiments come forth.
So there are certain general principles of approval and blame.
–	Their influence can be traced in the mind.
–	Some particular forms are calculated [by nature? by the artist?] in relation to the structure of the mind to please.
–	They fail because of some defect in the organ [eye, brain, mind].
–	[A person who cannot see the beauties in the arts] is like a man in a fever who cannot tell flavors.
The sound state of the creature [in this case human] affords a true standard of taste.
–	If there is at least a considerable agreement in feelings among men in the sound state of their organ there is perfect beauty. 
–	Similarly, we say that the true color of an object is what is seen in daylight by a man in health, even though color is merely a sense illusion.
–	There are many defects of internal organs [faculties within the mind], and so the pleasure will not be equally felt in every individual.
Delicacy of imagination is needed to feel finer emotions.
–	We need a more accurate definition of it.
–	Consider the story in Don Quixote of Sancho's hereditary judgment in wine.
–	Each of two kinsmen of Sancho taste from a hogshead of wine supposed to be excellent, and both judge it as good, although one tastes a bit of metal and the other a bit of leather:  the audience laughs, as this inconsistency seems to disprove their excellence as judges.  But then the key with the leather thong is found. 
Honoré Daumier, Don Quixote and Sancho Panza (ca. 1850), and an early edition of Don Quixote, 1618
Hogshead
Since mental taste is similar to bodily taste we can apply this story.

–	Beauty and deformity are not qualities in objects, but belong entirely to the sentiment  [affirms one aspect of species of philosophy #1]
–	There are certain qualities in objects fitted by nature to produce those particular feelings.
–	These are found in small degree, mixed, and confounded. 
General Rules of Beauty
–	One has delicacy of taste if the organs are so fine as to allow nothing to escape.
–	General rules of beauty [patterns of composition] are drawn from established models and what pleases when presented singly and in high degree.
–	 When the same qualities in smaller degree do not affect a person then that person has no delicacy of taste.

Producing these general rules is like finding the key with leather:  it justifies the verdict of men who have delicacy.
–	One proves the superiority of judges by reference to the general principles.
–	But even if these general principles had never been acknowledged one man's taste would still be preferable to another's.
–	We can silence the bad critic [the person without taste] by showing him that the principles work in his own case and that the same principle can be applied in this case.
The perfection of a faculty is to perceive with exactness its most minute objects.
–	Mixtures of small ingredients test a good palate.
–	A man [of taste] should only be satisfied with himself when every beauty and deformity [of the work of art] is noted.
–	Delicate taste of wit and beauty is always desirable:  it is the source of the finest and most innocent pleasures. 
–	All approve of the delicacy of taste.
Practice in a particular art improves delicacy.
–	Then one perceives the beauties and defects of each part and quality.
–	This requires surveying each performance several times and in different lights.
Prejudice is just as contrary to good taste as to the understanding:  good sense governed by reason checks prejudice.
–	Good sense is also needed to note the mutual relation and correspondence of parts in works of genius.
–	Each work of art has a purpose and is to be thought perfect to the extent it is fitted to this end:  e.g. the object of poetry is to please by means of the passions and imagination. 
The Poet Needs Judgment
–	Every composition is a chain of propositions and reasonings:  the poet needs judgment as well as taste and imagination to present this [like Aristotle].
–	Clearness of conception, exactness of distinction and vivacity of apprehension are essential to true taste.
–	Good sense is needed to discern the beauties of design and reasoning.

The principles of taste are universal and nearly the same in all men.
–	Yet few are qualified to give judgment on any work of art.
–	The organs are seldom so perfect.
The True Standard of Taste
–	Strong sense [does he mean “good sense” or “strong senses” as in good eyesight etc.?], united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice give critics their valuable character.
–	The joint verdict of such critics is the true standard of taste and beauty.

Project Runway Season 5 2008
Where are these to be found?
–	This is a  question of fact, not of sentiment.
–	That such a character is valuable will be agreed by all mankind.
–	Some men in general will be acknowledged to be preferred [in general, people will agree that “good judges” are admirable]. 
There are two sources of variation that will often produce a difference in degrees of approval or blame.

–	different humors of particular men: a young vs. an older man’s taste
•	We choose a favorite author who resembles us.
–	particular opinions of our age and country

We cannot reconcile differences here. 
Ovid or Publius Ovidius Naso (20 March 43 BCE – 17 or 18 CE); Horace (65-8 BCE) Quintus Horatius Flaccus, and Tacitus:  Publius (or Gaius) Cornelius Tacitus (56 CE – 117 CE)

•	William Hogarth. 
•	David Garrick with His Wife 
•	Eva-Maria Veigel
•	"La Violette" or "Violette".
•	 1757.
Joshua Reynolds  Miss Elizabeth Ingram 1757
George Stubbs Molly Longlegs  1762
Allan Ramsay. Portrait of Margaret Lindsay, Mrs. Allan Ramsay. c.1757. Oil on canvas. National Gallery of Scotland
Thomas Gainsborough.  John Plampin. About 1753-4. Oil on canvas. National Gallery, London, UK.
Thomas Gainsborough.  The Painter's Daughters, Margaret and Mary, Chasing Butterfly. About 1756. National Gallery, London, UK. 
Tomb of David Hume, England
Robert C. Solomon, Philosopher, U.S., mainly University of Texas, 1942-2007 
“Kitsch” (1991)
•	Kitsch:  a German word origins obscure 1870:  smear, playing with mud [Bearn:  from English for "sketch"], mucking with emotion?  [Wikipedia:  originally came from “cheap, hotly marketable pictures or sketches” made for the German bourgeoisie] 
–	Harries: Kitsch is always considered immoral.
–	Solomon: But one culture’s kitsch may be another’s avant garde [thinking of the common opposition between avant-garde and kitsch]
How would Hume respond to kitsch?
•	"The coarsest daubing contains a certain lustre of colours and exactness of imitation, which are so far beauties, and would affect the mind of a peasant or Indian with the highest admiration.” But Hume refers to this as an “inferior beauty.”  [not in our selection]
•	“Where no comparison has been employed, the most frivolous beauties, such as rather merit the name of defects, are the object of [the bad critic’s] admiration.” (403)
•	“Where good sense is wanting, [the critic] is not qualified to discern the beauties of design and reasoning, which are the highest and most excellent.” (403) Kitsch does not appeal to “good sense.”

Art and kitsch defined as opposites
•	“The word, kitsch, was popularized in the 1930s by the art theorists Theodor Adorno, Hermann Broch, and Clement Greenberg, who each sought to define avant-garde and kitsch as opposites. The art world of the time perceived the immense popularity of kitsch as a threat to culture. The arguments of all three theorists relied on an implicit definition of kitsch as a type of false consciousness, a Marxist term meaning a mindset present within the structures of capitalism that is misguided as to its own desires and wants.” Wikipedia “Kitsch” accessed 9/20/10
Adorno perceived this in terms of what he called the “culture industry."
•	“where the art is controlled and formulated by the needs of the market and given to a passive population which accepts it—what is marketed is art that is non-challenging and formally incoherent, but which serves its purpose of giving the audience leisure and something to watch or observe. It helps serve the oppression of the population by capitalism by distracting them from their social alienation. Contrarily for Adorno, art is supposed to be subjective, challenging, and oriented against the oppressiveness of the power structure. He claimed that kitsch is parody of catharsis and a parody of aesthetic experience.” ibid.
Clement Greenberg defined it in this way. 
•	“simultaneously with the entrance of the avant-garde, a second new cultural phenomenon appeared in the industrial West: that thing to which the Germans give the wonderful name of Kitsch: popular, commercial art and literature with their chromeotypes [chromotypes:  colored illustrations], magazine covers, illustrations, ads, slick and pulp fiction, comics, Tin Pan Alley music, tap dancing, Hollywood movies, etc.” “Avant-Garde and Kitsch,” Partisan Review  1939 http://www.sharecom.ca/greenberg/kitsch.html

•	Garden gnome with wheelbarrow, photo taken by Joannes Baptista, Oct. 16, 2005
Sentimentality and kitsch
–	"it is the sentimentality of kitsch that makes kitsch kitsch and sentimentality that makes kitsch morally suspect…”
–	"kitsch may be bad art"  and "show poor taste"  but S. challenges the condemnation of the sentimentality of kitsch and the idea that it is ethically wrong. He asks why the sentimentality of kitsch is condemned.
Good taste?
–	Contempt for kitsch is considered [by many, but not Solomon] a standard for good taste.
–	But there is too little agreement about what is wrong with kitsch to back up this view.
–	The "vicissitudes" [changes or variations] of taste in art are rarely rational.
Chris Burden  “Through the Night Softly” 1973:  dragging himself across broken glass

•	Carl Andre (born 1935) 
•	Equivalent VIII
•	1966 
•	Firebricks
 
Belk, a.k.a. Daniel Cortez Aldama, 18, of Fremont, who police consider Public Vandal No. 1, was arrested on four felony counts of illegal graffiti. 12/7/07
Cuddly dog from the on-line shop of Stucky’s
•	This cuddly little lifelike dog is looking for a good home! Made from farm-raised rabbit fur, he measures almost 12" long and comes atop his own pillow. He makes the perfect companion without eating you out of house and home! 
Attacks on kitsch and answers.

•	Kitsch provokes excessive or immature expressions of emotion.
"cute"  "pretty"  "Aaaaah"  
–	These are unsophisticated and child-like emotions. 
–	What is the charge?  too much of these emotions? provokes them at all?  attack on emotions as such?

–	Sure, emotions develop with experience:  but are emotions of a 70-year-old better or wiser than those of a seven-year-old?
–	Often we take emotions to be sophisticated when they are cynical or suppressed.

Child-like feelings
–	But there is something charming about an adult with child-like feelings, and it is wrong when he/she never can have them, e.g. in an art gallery.
–	One purpose of art is to remind us of tender, outgrown sentiments - to help us feel them again [vs. Plato!].

Gentle Emotions
–	We have a limited vocabulary and a cultivated inability to recognize the more gentle emotions.
–	Agreed, we can condemn the public [childish] expression of  emotion as being inappropriate.
–	The usual cultivated response is a sneer.
–	We are probably embarrassed by the gentle emotions because they make us uncomfortable in any amount.

Bad art, sure, but…
•	One point of view [which he seems to reject when he calls it “whiggish” and cold-blooded] is that good taste requires subtlety.
•	It may be that certain emotions are inappropriate, i.e. getting “turned on” by Bouguereau’s paintings of little girls.
•	Generally the problem is that feeling “cuddly” isn’t “cool” and is considered poor taste.  
•	Perhaps kitsch is bad art, but why more?
Bouguereau  Hazelnuts  1882
William Adolphe Bouguereau 1864
Bouguereau  Plums  1896
2. One suggestion: Kitsch and sentimentality manipulate the emotions.
–	Kitsch is manipulative, using “icons” (little girls, puppies) to guarantee emotional response.
–	One argument is that manipulating emotions violates a person’s autonomy.
–	S.  suspects this is covert reaction to the emotions themselves: it is not a violation if a person is “reasoned with,” so why is it when the appeal is to the emotions?
–	This assumes that emotions are humiliating.
But not all emotions are humiliating.
–	Why should we feel humiliated by feelings of tenderness?
–	Emotions are intentionally brought about all the time, for example gratitude is brought by a gift.
–	“Manipulation” refers to an unwanted emotion.
–	But saccharine [overly sentimental] sentiments [are not always unwanted] and would seem appropriate in the sanctuary of the museum.

Thomas Kinkade Gingerbread Cottage  1990s
Thomas Kinkade Sunrise Chapel 2006
John Constable Salisbury Cathedral from the Bishop's Grounds    c.1823-5. V&A version.
John E. Thornes. John Constable's skies: a fusion of art and science
 (Edgbaston, Birmingham: The University of Birmingham Press, 1999). 
•	Thomas calls this painting, a “turning point in Constable’s technical development, both from the point of view of painting the exact detail on the cathedral and from the successful use of warmer colors such as red, green and gold without sacrificing harmony” 126.  
•	Constable“ I was at one time fearful that it would not be a favorite [with the bishop who commissioned it] owing to the dark cloud … but we got over the difficulty.”, pg. 127.  Actually the bishop continued not to like the cloud and had him paint a second version without it as a wedding present.  The second version is considered less dramatic. 
Salisbury Cathedral (Henry E Huntington Library & Art Gallery, San Mareno) John Constable 1823 
Two versions compared.
Salisbury Cathedral today
3. kitsch evokes cheap, easy, or superficial emotions
–	“Cheap” may mean “low quality” or may refer to the class of the responder.
–	Oscar Wilde:  “To be sentimental is to be shallow” - mark of the uneducated
–	S.:  The “high” class (in society) associate themselves with emotional control and reject sentimentality.
–	and male society demeans the “emotionality” of women
Snobbery?
–	also ethnic:  Northern European against Southern European, West against East
–	Kitsch is “cheap” because the person who feels these emotions is thought emotionally cheap as well.
–	Can a society that seeks equality afford such snobbery? 
4.  Kundera:  kitsch is self-indulgent:  how nice to see children play, followed by “how nice to be moved” by this
–	It is “false” because it is the emotion and not the object of the emotion which is the primary concern.
–	Harries:  love is kitsch if its object is not the beloved but itself, “in love with love.”
–	But reflectivity of emotion is not self-indulgent in cases of appreciating a work of art:  it is suspicion of the emotions as such that makes kitsch a vice.
5.  The most common charge is that kitsch and sentimentality distort our perceptions and interfere with rational thought. [Plato]
–	Mary Midgley:  the central offense is self-deception.
–	S.:  all emotion is “distorting” and such is not really distorting at all:  in anger one looks at the offense, etc.:  we take sides and edit scenes.
Solomon’s Definition of kitsch:
•	it is art that is deliberately designed to so move us, by presenting a well-selected and perhaps much-edited version of some particularly and predictably moving aspect of our shared experience
•	But it is not, contra Herman Broch, “universal hypocrisy.” 
velvet jesus

•	--- my entire life in my grandma dorothy's 1960's ranch house in st. petersburg, florida this magnificent painting of jesus on velvet has hung above the console tv “funnel erickass” flickr
Walter Keane, (really Margaret Keane?) “My Kitty,” 1960, painting to the right copyrighted by Margaret Keane
Ilya Repin "The Reply of the Zaporozhian Cossacks to Sultan of Turkey“ 1880-1891. [Greenberg’s example.] 
Odd Nerdrum, The Kiss, 2002 [Nerdrum proclaims that he makes kitsch and that he is opposed to Art.]
Frank Sibley  “Aesthetic Concepts”  selection  from the article of the same name  1959.
•	Aesthetic terms include:  unified, balanced, integrated, lifeless, serene, somber, dynamic, powerful, vivid, delicate, moving, trite, sentimental, tragic, “telling contrast,” “sets up a tension,” etc.  
–	 includes terms used both by laymen and professionals
The range of taste.
•	Often people with normal intelligence and senses do not have the sensitivity to apply such terms: and even intelligent people may not see that something is, for example, graceful.
–	Taste or sensitivity (when it is wide-ranging and refined) is somewhat rarer than other human abilities.
–	Maybe this is why disputes over application of aesthetic terms often go unsettled.
–	Yet, almost everyone can exercise taste to some degree.
Support for attribution.
•	We often support our attribution of aesthetic terms by referring to other aesthetic features:  e.g., “this is dainty because it is delicate”
•	This is like saying someone is intelligent because inventive, etc.
•	Often we support attribution of the term by referring to things that do not themselves require taste:  “delicate because of its pastel shades…”
Non-aesthetic features.
•	Here we are asking what non-aesthetic features make something delicate.
•	The good critic often gives what seems the right explanation.
•	Aesthetic qualities ultimately depend upon non-aesthetic features, e.g. curving or angular lines, color contrasts, placing of masses, or speed of movement. 
No non-aesthetic conditions.
•	We are talking here about the relation between aesthetic qualities and non-aesthetic features.
•	But, [this is a major point] no non-aesthetic features are conditions for applying aesthetic terms.  [i.e. you cannot prove that something is delicate or beautiful.]
Defining “Intelligence” is different.
•	Being a good chess player can only count towards intelligence.  For example, “I say he is intelligent because he is a good chess player.”  
•	In cases like this, some group of conditions is sufficient for a term to apply:  for example if you have a number of such features then you must be intelligent.
•	There is no definition of intelligence in terms of necessarily and sufficient conditions, however.  [This would make “intelligent” different from “triangle.”]
Not condition-governed.
•	Aesthetic concepts are not even condition-governed in the limited way that “intelligence” is.
•	There is no set of features that would warrant application of an aesthetic term such as “graceful.”  
graceful leap
“Vietnamese students performed a graceful dance with fans and umbrella” Eastwestcenter.org
“African dance can be graceful, too!” “How to play djembe drums for west african dance class”
Michael Pluznik.com
We cannot say, for instance,
•	“If the vase is pale pink, somewhat curving, lightly mottled, and so forth, it must be delicate.” 
•	“This delicately beautiful shaped hand-blown bud vase is a treasure from the Victorian England era circa 1850-1900.”
Defeasible concepts.
•	It is not simply that there are no sufficient conditions for taste concepts.  Taste concepts are not even as condition-governed as “defeasible” concepts.
•	“Defeasible” concepts are ones in which we cannot state sufficient conditions since there is always a list of defeating conditions. [These concepts are sometimes found in law].  
In Law
•	For example, certain things can only count towards “valid contract” and certain other things can only count against it.  “offer” and “acceptance,” count for it, and that it was made under duress counts against it.
•	Defeasible concepts are still condition-governed, whereas taste concepts are not governed by conditions at all.

Examples
•	Although examples may help us to learn taste terms we cannot derive conditions from them.
The fake critic.
•	Someone knowing he lacked aesthetic sensitivity might, through intelligent guessing and formulation of rules, say the right things.  But he could have no certainty.  A slight change in the object might ruin his calculations.  
•	He can only think that an object is “very possibly delicate.”
•	He would not even be beginning to show an awareness of what delicacy is, unlike the case with “lazy.”
We could convince him wrongly.
–	Indeed, we could easily convince him wrongly that something was delicate.  
–	He would have no more reason to choose tasteful objects than a deaf man would have to avoid noisy places.  [He would be taste- deaf or taste-blind.]
–	We could not praise him for having taste.
The True Critic
•	By contrast, the true critic supports her judgments and gets her audience to see what she sees.

1. She may mention or point out non-aesthetic features.  
•	“Notice those flecks of color…”
•	“Did you notice the figure of Icarus in the Brueghel. It is very small.”
•	“Of course, you’ve observed the ploughman in the foreground; but had you considered how he, like everyone else in the picture, is going about his business without noticing the fall of Icarus?”  
•	She may bring someone to see aesthetic qualities by mentioning something different [vs. Hume?]

Bruegel, Pieter “Landscape with the Fall of Icarus” c. 1558. 

•	She may just point out features unnoticed by the untrained person.
•	2. She may mention the very qualities she wants people to see:  “how nervous and delicate the drawing is.”
•	3.  Most often, she will link aesthetic with non-aesthetic features.  “Have you noticed this line?”  “Doesn’t it give the painting vitality?”

•	4. She may use similes and metaphors: for example,  “as though he had thrown on the paint violently and in anger”
•	5. She may use contrasts, comparisons and reminiscences.
•	What is best depends on the audience and the work.

Repetition, Variation, Tone and Gesture
–	6. The critic will often repeat what she says, for example the word “balance” in front of the same painting
•	She may also engage in variation:  e.g. talk around what she said, using perhaps a barrage of near-synonyms.
–	7. She may accompany her talk with certain tones of voice and gestures.
These methods are the natural ones for taste concepts.
•	Our ability to notice and respond to aesthetic qualities is cultivated and developed by our contacts with parents and teachers.
•	The methods for teaching us how to use taste concepts are the same used by critics.
Some people have taste that is more refined, some people less.
•	“when someone can call bright canvasses gay and lively without being able to spot the one which is really vibrant…we do not regard his aesthetic sensitivity in [this matter] as particularly developed.”  (425)  
•	The initial steps however are natural and easy.