 Alison’s theory of taste, perhaps more than any other here considered, is apt to strike the present-day aesthetician as alien to her concerns. But it is perhaps not so alien. Alison differs from his present-day counterpart by defining the qualities she now terms “aesthetic” according to the distinctive emotions he takes each to produce. Hence many of Alison’s claims about the emotions of beauty and sublimity and about the simple emotions on which these depend can be translated into claims about aesthetic qualities. Consider, for example, the claim—central and distinctive to Alison’s theory—that the emotions of beauty and sublimity depend on simple emotions such as delicacy, grace, dignity, and majesty. Surely it is a precursor to present-day claims about the dependence—e.g., the supervenience—of comparatively evaluative aesthetic qualities on comparatively descriptive aesthetic qualities.