SECTION II.

Of the Relative Beauty of Forms.

BESIDES those qualities of which Forms in themselves are expressive to us, and which constitute what I have called their NATURAL Beauty, there are other qualities of which they are the Signs, from their being the subjects of Art, or produced by Wisdom or Design, for some end. Whatever is the effect of Art, naturally leads us to the consideration of that Art which is its cause, and of that End or purpose for which it was produced. When we discover skill or wisdom in the one, or usefulness or propriety in the other, we are conscious of a very pleasing Emotion; and the Forms which we have round by experience to be associated with such qualities, become naturally and necessarily expressive of them, and affect us with

the Emotions which properly belong to the qualities they signify. There is therefore an additional source of Beauty in Forms, from the Expression of such qualities; which, for the sake of perspicuity, I shall beg leave to call their RELATIVE Beauty.

Every work of Design may be consider ed in one or other of the following lights: Either in relation to the Art or Design which produced it, to the nature of its Construction for the purpose or end intended, or to the nature of the End which it is thus destined to serve; and its Beauty accordingly depends, either upon the excellence or wisdom of this Design, upon the Fitness or propriety of this construction, or upon the Utility of this end. The considerations of Design, of Fitness, and of Utility, therefore, may be considered as the three great sources of the Relative Beauty of Forms. In many cases, this Beauty arises from all these Expressions together; but it may be useful to consider them separately,

and to remark the peculiar influence of each, upon the Beauty of Forms.

PART I.

Of the Influence of Design upon the Beauty of Forms.

I.

That the quality of design is in many cases productive of the Emotion of Beauty, seems to me too obvious to require any illustration. The Beauty of Design in a Poem, in a Painting, in a musical Composition, or in a Machine, are Expressions which perpetually occur, both in books and in conversation, and which sufficiently indicate the cause or source of the Emotion.

Wherever we discover Fitness or Utility, we infer the existence of Design. In those Forms, accordingly, which are distinguish

ed by such qualities, the discovery of an end immediately suggests to us the belief of Intention or Design; and the same material qualities of Form, which signify to us this Fitness or Usefulness, are the Signs to us also of the Design or Thought which produced them.

It is obvious, however, that we often perceive the Expression of Design in Forms, both in Art and Nature, in which we discover neither Fitness nor Utility. By what means then do we infer the existence of Design in such cases; and are there any qualities of Form, which are in themselves expressive to us of Design and Intention? I apprehend that there are; that there are certain qualities of Form which are immediately and permanently expressive to us of these quali ties of Mind, and which derive their Beauty from this Expression.

1. In this view, it will easily be observed, that the material quality which is most naturally and most powerfully expressive to

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us of Design, is UNIFORMITY OF REGULA RITY. Wherever, in any Form, we observe this quality, we immediately infer Design. In every Form, on the contrary, where we discover a total want of this quality, we are disposed to consider it as the production of Chance, or of some Power which has operated without Thought or Intention. "In "all cases (says Dr Reid) Regularity expresses Design and Art; for nothing re"gular was ever the work of Chance." In what manner this connection is formed, whether it is derived from experience, or to be considered as an original principle of our nature, I do not inquire. It is, however, very obvious in children, at a very early age; and it may be observed, that the popular superstitions of all nations are in a great measure founded upon it; and that all uniform or regular appearances in Nature are referred by them to some intelligent mind.

The terms Regularity and Uniformity