more precise; for, even in the same countenance, and in the same hour, the same form of feature may be beautiful or otherwise."

SECTION IV.

ELEMENTS OF BEAUTY AS EMPLOYED IN OBJECTS OF ART.

I divide the Arts into the useful, the ornamental, and the intellectual, commonly called the fine arts; and I shall endeavour to show, that the objects of each of these is characterized by a peculiar kind of beauty, corresponding to one of those already described.

I shall endeavour to show that the objects of the useful arts are characterized by the simple geometrical forms which belong to inanimate beings; that those of the ornamental arts are characterized by the delicate, bending, varied and contrasted forms of living beings; and that those of the intellectual arts, are in their highest efforts characterized chiefly by thinking forms, as in gesture, sculpture, painting, or by functions of mind actually exercised, in oratory, poetry, music.

In all these arts, purpose is implied - not purpose in the hypothetical sense, as applied to the existence, conditions and objects of natural beings but in the common intelligible sense of

the word, as expressing the intention of men in the pursuit of these arts.

Beauty of Useful Objects.

Here the purpose being utility, this kind of beauty arises from the perception of means as adapted to an end, which of course implies, the parts of any thing being fitted to answer the purpose of the whole.

This implies an act of understanding and judgment; for of no product of useful art can we perceive the extrinsic beauty, until we know its destination, and the relations which that involves.

When these are known, so powerful is the sense of utility, that, though deviation from the elementary beauty never ceases to be felt; yet that sense sanctions it to a great extent. Hence it is that an irregular dwelling house may become beautiful, when its convenience is striking. Hence it is that, in the forms of furniture, machines, and instruments, their beauty arises chiefly from this consideration; and that every form becomes beautiful by association, where it is perfectly adapted to its end.

The greater, however, the elementary beauty, that can be introduced in useful objects, the more obvious will their utility be, and the more beautiful will they universally appear. This will be granted the moment I mention simplicity.

Of all the elements of beauty already spoken of— of all the means of producing accordant and agreeable relations, simplicity appears to be the most efficient; and in all the useful arts, no elementary consideration recommends their objects so much.

This implies all the rest, regularity, uniformity, proportion, order, &c. as far as is compatible with purpose.

Thus, in regard to uniformity, says some one, a number of things destined for the same purpose, as chairs, spoons, &c. cannot be too uniform, because they are adapted to uniform purposes; but it would be absurd to give to objects destined for one purpose the form suited to those destined

for another.

So also the objects of useful art will resemble in form precisely as they resemble in purpose; and where the purpose is similar, and the deviation which is admissible is slight, this becomes a subject of great nicety, and, if ornament be at the same time admissible, a subject of exquisite

taste.

It was by the transcendent exercise of these qualities, that the Greeks succeeded in fixing the orders of architecture. The most beautiful columns would have shocked the sight, if their mass had not corresponded to that of the edifice which

they sustained; and the difference which existed in this respect, required a difference of ornament.

Home indeed observes, that "writers on architecture insist much upon the proportions of a column, and assign different proportions to the Doric, Ionic, and Corinthian; but no architect will maintain, that the most accurate proportions contribute more to use, than several that are less accurate and less agreeable."

That such a man should have committed such an error is surprising. It seems evident that the different proportion in the columns of these orders is admirably suited to the different quantity of matter in their entablatures. A greater superincumbent mass, required shorter and thicker columns a less super-incumbent mass, longer and slenderer ones. Many experiments, much observation, were requisite to determine this; but the Greeks had the means of making them, and solved every problem on the subject; and the result of the perfection they attained, is that all err who depart from the truth they have determined.

It was, again, the differing quantities of matter in the entablatures, and the accurately corresponding dimensions of the columns that determined, of course amidst infinite experiment and observation, the nature of their ornaments. Hence the Doric is distinguished by simplicity; the Ionic

by elegance; and the Corinthian by lightness, in ornament as well as in proportion.

Even, therefore, if we were to destroy all the associations of elegance, of magnificence, of costliness, and still more than all, of antiquity, which are so strongly connected with such forms, the pleasure which their proportions would afford, would remain, as in all cases where means are best adapted to their end.

In his objections to proportion as an element of beauty, Burke only confounds this kind of beauty with that which I have next to describe.

"The effects of proportion and fitness," he says, "at least so far as they proceed from a mere consideration of the work itself, produce approbation, the acquiescence of the understanding, but not love, nor any passion of that species. When we examine the structure of a watch, when we come to know thoroughly the use of every part of it, satisfied as we are with the fitness of the whole, we are far enough from perceiving any thing like beauty in the watch-work itself; but let us look on the case, the labour of some curious artist in engraving, with little or no idea of use, we shall have a much livelier idea of beauty than we ever could have had from the watch itself, though the master-piece of Graham."

It is an emotion of pleasure which is the inevit