 Some more distinctively gendered and more evaluatively loaded claims about the emotions appeared in the eighteenth century, particularly in aesthetic theory. Shaftesbury is a bit of a villain here, contrasting true taste with the trivial sentiments of merely feminine taste. Some authors even distinguished aesthetic qualities and emotions through gendered contrasts, as when feminine beauty is opposed to the masculine sublime (with, of course, the preference going to the sublime). By the end of the eighteenth century, Wollstonecraft bemoaned that women socialized to be ladies fall “more under the influence of sentiments than passions,” suggesting a gendered division between sentiment and passion echoed in several other passages in the work (1792, 49). But that is not a contrast found in many earlier authors.