On this theory of art it is easy to account for both the mutability and the fixity of esthetic taste. Taste with a capital T is formed from the aggregate of individual tastes by much the same process by which these take their origin from the single emotions of those to whom they belong. Taste is that part of personal tastes which is based on what is biologically and culturally common to mankind. Consequently it changes just as rapidly and just as slowly as mankind itself. Of course, in addition to this general human taste, every group of persons has its group taste. There are always certain individuals whose tastes have been more highly developed in the intricacy of their objects and the uniformity of their norms than those of the common run of humanity. These persons indi cate the direction which the general human taste will assume with the increase of artistic and cultural education, and accordingly the group-taste of this community is Good Taste. With Bosanquet we may make this Good Taste the practical norm of esthetics.
The norm of esthetics, is to be found in the direction in which evolution and education are leading the judgments of mankind. It is because of the de facto permanency of the trends of education and evolution and of human nature itself that art is a social matter — that the works of one man can be appreciated by others—and not because of any a priori character of the beautiful and of art.
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