The attempts to define and to arrive at a standard of taste lie at the heart of the aesthetic inquiries that were being carried on in eighteenth-century England. That such inquiries, by examining certain fundamental assumptions of traditional æsthetics, exerted an influence on the theory and practice of literary criticism, is a commonplace. But why and how this influence was felt has not been explained. Its importance can be gauged by the fact that within a period of twenty years several of the ablest minds in England and Scotland, including Burke, Hume, Hogarth, Reynolds, Kames, and Gerard—most of them interested in literary criticism—were focussed upon the problem of taste. It was not a coincidence that in the years from 1750 to 1770, when the search for a standard of taste was at its height, the old assumptions of literary criticism were crumbling and the new “romantic” principles were being set forth, sometimes timidly and sometimes boldly, by the Wartons, Young, Hurd, Kames, and many others. The relation between these two phenomena is the subject of this study.