to us; and I shall endeavour, to explain, with as much accuracy as I am able, the different Expressions of which Forms are susceptible, and which are the Foundation of that Sublimity and Beauty which we ascribe to them. The importance of the subject, will, I hope, be my excuse for the length, and perhaps for the tediousness of some of these illustrations. .

Forms are naturally divisible into two kinds, into animated and inanimate Forms. It is the latter of these only which I propose at present to consider; as it is obviously necessary first to consider the source of the Beauty of which Form itself is capable, before we can properly ascertain that superior Beauty which arises from Animation.

With regard to inanimate Forms, the principal expressions which they have to us, seem to me to be, 1st, The expressions of such qualities as arise from the nature of the bodies distinguished, by such Forms; and, 2dly, The expressions of such qualities

as arise from their being the subject or production of Art. The first of these constitutes what may be called their NATURAL Beauty; the second, what may be called their RELATIVE Beauty. There is also another source of expression in such qualities from accidental Association, and which perhaps may be termed their AcCIDENTAL Beauty.

Upon each of these sources of the Beauty of Forms, I shall offer some observations.

SECTION 1.

Of the Natural Sublimity and Beauty of Forms.

PART I.

Of the Sublimity of Forms.

THE Sublimity of inanimate Forms seems to arise chiefly from two sources; 1st, From the nature of the objects distinguished by that Form; and, 2dly, From the quantity or magnitude of the Form itself. There are other circumstances in the nature of Forms, which may extend or increase this character; but I apprehend, that the two now mentioned, are the only ones which of themselves constitute Sublimity. Both of them, I believe, are productive of this ef fect, by being expressive to us of qualities capable of exciting very strong Emotions.

1.

1. The Forms which distinguish bodies that are connected in our minds with ideas of Danger or Power, are in general Sublime. There is scarcely any thing in inanimate Nature more remarkably so, than all those Forms which are appropriated to the instruments of War. The Forms of Cannon, Mortars, &c. have all a character of this kind. Military Ensigns, although approaching to very common and neglected Forms, partake of the same character. There are few things more Sublime than the Forms of Armour, particularly the steel Armour which was in use in the middle ages. Even the familiarity of common use does not altogether destroy this effect: the Sword, the Spear, the Javelin, the Dagger, are still sublime Forms, and enter with propriety into the sublimest descriptions either of Poetry or Painting.

2. The Forms that in general distinguish

VOL. I.

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bodies of great duration, and which of consequence express to us great Power or Strength, are in most cases sublime. In the Vegetable Kingdom, the Forms of Trees are Sublime, principally in proportion to their expression of this quality. Nothing is more Sublime than the Form of Rocks, which seem to be coëval with Creation, and which all the convulsions of Nature have not been able to destroy. The Sublimest of all the Mechanical Arts is Architecture, principally from the durableness of its productions; and these productions. are in themselves Sublime, in proportion to their antiquity, or the extent of their Duration. The Gothic Castle is still more Sublime than all, because, besides the desolation of Time, it seems also to have withstood the assaults of War.

3. The Forms which distinguish bodies that are connected in our Minds with ideas of Splendour or Magnificence, are in general sublime. The Forms of the Throne, the