that effect which is produced alone by the Quality signified.

Whatever may be the truth of these observations, it cannot at least be doubted, that the qualities of Matter are often associated with others, and that they affect us in such cases, like all other signs, by leading our imaginations to the qualities they signify. It seems to be equally obvious, that in all cases where Matter, or any of its qualities, produces the Emotions of Sublimity or Beauty, this effect must arise either from these Material Qualities themselves, from their being fitted by the constitution of our nature to produce such Emotions; or from some other qualities with which they are associated, and of which they operate as the Signs or Expressions.

It should seem, therefore, that a very simple, and a very obvious principle is sufficient to guide our investigation into the source of the sublimity and beauty of the

qualities of Matter. If these qualities are in themselves fitted to produce the Emotions of Sublimity or Beauty (or, in other words, are in themselves beautiful or sublime), I think it is obvious that they must produce these Emotions, independently of any association. If, on the contrary, it is found that these qualities only produce such Emotions when they are associated with interesting or affecting qualities, and that when such associations are destroyed, they no longer produce the same emotions, I think it must also be allowed that their Beauty or Sublimity is to be ascribed, not to the material, but to the associated qualities.

That this is in reality the case, I shall endeavour to show, by a great variety of illustrations. It is necessary, however, for me to premise, that I am very far from considering the Inquiries which follow, as a complete examination of the subject. They are indeed only detached observations on the

Sublimity and Beauty of some of the most important classes of material qualities, but which, however imperfect they may seve rally be, yet seem to possess considerable weight from their collective evidence.

CHAPTER II.

Of the Sublimity and Beauty of Sound.

THE Senses by which we chiefly discover Beauty or Sublimity in material objects, are those of HEARING and SEEING.

The objects of the first are, Sounds, whether SIMPLE or COMPOSed.

The objects of the second are, CoLours, FORMS, and MOTION.

SECTION I.

Of Simple Sounds.

I SHALL begin with considering some of those instances, where simple sounds are productive of the Emotions of Sublimity or Beauty. Such sounds are capable of many divisions. It may be sufficient, at present, to consider them in the following order:

1. Sounds that occur in inanimate Nature.

2. The Notes of Animals.

And,

3. The Tones of the Human Voice.

PART 1.

Of Miscellaneous Sounds.

Or the first class, or of those Miscella

neous Sounds that occur in inanimate Na