With respect to the present undertaking, it is not the author’s intention to give a regular treatise upon each of the fine arts in particular; but only, in general, to apply to them some remarks and observations drawn from human nature, the true source of criticism. The fine arts are calculated for our entertainment, or for making agreeable impressions; and, by that circumstance, are distinguished from the useful arts. In order then to be a critic in the fine arts, it is necessary, as above hinted, to know what objects are naturally agreeable, and what naturally disagreeable. A complete treatise on that subject would be a field by far too extensive to be thoroughly cultivated by any one hand. The author pretends only to have entered upon the subject so far as necessary for supporting his critical remarks. And he assumes no merit from his performance, but that of evincing, perhaps more distinctly than hitherto has been done, that the genuine rules of criticism are all of them derived from the human heart. The sensitive part of our nature is a delightful speculation. What the author hath discovered or collected upon that subject, he chuses to impart in the gay and agreeable form of criticism; because he imagines, that this form will be more relished, and perhaps be not less instructive, than a regular and laboured disquisition. His plan is, to ascend gradually to principles, from facts and experiments, instead of beginning with the former, handled abstractly, and descending to the latter. But though criticism be thus his only declared aim, he will not disown, that all along he had it in view, to explain the nature of man, considered as a sensitive being, capable of pleasure and pain. And though he flatters himself with having made some progress in that important science, he is however too sensible of its extent and difficulty, to undertake it professedly, or to avow it as the chief purpose of the present work.