A gradual progress from simplicity to complex forms and profuse ornament, seems to be the fate of all the fine arts; resembling behaviour, which from original candor and simplicity has degenerated into artificial refinements. At present, written productions are crowded with words, epithets, figures, _&c._ In music, sentiment is neglected, for the luxury of harmony, and for difficult movement which surprises in its execution. In _taste_ properly so called, poignant sauces with complicated mixtures of different favours, prevail among people of condition. The French, accustomed to the artificial red on their women’s cheeks, think the modest colouring of nature displayed on a fine face altogether insipid. The same tendency appears in the progress of the arts among the ancients. Of this we have traces still remaining in architecture. Some vestiges of the oldest Grecian buildings prove them to be of the Doric order. The Ionic succeeded, and seems to have been the favourite order, while architecture was in its height of glory. The Corinthian came next in vogue: and in Greece, the buildings of that order appear mostly to have been erected after the Romans got footing there. At last came the Composite with all its extravagancies, where proportion is sacrificed to finery and crowded ornament. But what taste is to prevail next? for fashion is in a continual flux, and taste must vary with it. After rich and profuse ornaments become familiar, simplicity appears by contrast lifeless and insipid. This would be an unsurmountable obstruction, should any man of genius and taste endeavour to restore ancient simplicity.