from any original fitness in the quality itself to produce this Emotion, seems to be obvious from the following considerations: 1st, That there is no determinate Magnitude, which is solely or peculiarly sublime, as would necessarily be the case, were Magnitude itself the cause of this Emotion. 2dly, That the same visible Magnitude which is sublime in one subject, is often very far from being sublime in another, and vice versa; and, 3dly, That Magnitude, according to its different appearances, has different characters of Sublimity, corresponding to the different Expressions which such appearances have; whereas if it were in itself sublime, independently of all Expression, it would in all cases have the same degree, and the same character of Subli mity.

PART II.

Of the Natural Beauty of Forms. The most obvious definition of FORM, is that of Matter, bounded or circumscribed by Lines. As no straight line, however, can include Matter, it follows, that the only Lines which can constitute Form, must be either, 1st, Angular Lines, or 2dly, Curved or winding Lines. Every Form whatever must be composed either by one or other of these Lines, or by the Union of them.

When Forms are composed by one of these lines solely, they may be termed SIMPLE Forms. When they are composed by the Union of them, they may be termed COMPLEX Forms.

For the sake of perspicuity, I shall first consider what it is that constitutes the Beauty of Simple Forms, and then, what constitutes the Beauty of Complex Forms.

Simple Forms then may be considered as described either by angular or winding Lines. These different Forms seem to me to be connected in our minds with very different Associations, or to be expressive to ns of very different Qualities. I shall beg leave to mention some of these, without pretending to a complete enumeration.

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1. The greater part of those bodies in Nature, which possess Hardness, Strength, or Durability, are distinguished by angular Forms, The greater part of those bodies, on the contrary, which possess Weakness, Fragility or Delicacy, are distinguished by winding or curvilinear Forms. In the Mineral Kingdom, all Rocks, Stones, and Metals, the hardest and most durable bodies we know, assume universally angular Forms. In the Vegetable Kingdom, all strong and durable Plants are in general distinguished by similar Forms. The feebler and more delicate race of Vegetables, on the contrary, are mostly distinguished

by winding Forms. In the Animal Kingdom, in the same manner, strong and powerful Animals are generally characterized by Angular Forms: feeble and delicate Animals by Forms of the contrary kind. In consequence of this very general connection in Nature, these different Forms become expressive to us of the different qualities of Strength and Delicacy.

2. In all those bodies which have a progress, or which grow and decay within our own observation, the same character of Form is observable. In the Vegetable Kingdom, the infancy or youth of plants is, in general, distinguished by winding Forms. The infancy and youth of animals is, in the same manner, distinguished by winding or serpentine Forms; their mature and perfect age, by Forms more direct and angular. consequence of this connection, Forms of the first kind become in such cases ex

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pressive to us of Infancy, and Tenderness,

and Delicacy; and those of the second kind, of Maturity, and Strength, and Vigour.

3. Beside these very obvious Associations, it is also to be observed, that from the Sense of Touch, angular Forms are expressive to us of Roughness, Sharpness, Harshness; winding Forms, on the contra ry, of Softness, Smoothness, Delicacy, and Fineness; and this connection is so permanent, that we immediately infer the existence of these qualities, when the bodies are only perceived by the Eye. There is a very strong analogy between such qualities as perceived by the Sense of Touch, and certain qualities of mind; as in all languages such qualities are expressed by terms drawn from the perceptions of the external sense. Such Forms, therefore, when presented to the Eye, not only lead us to infer those material qualities which are perceived by the Sense of Touch, but along with these, to infer also those qualities of mind, which from analogy are signified by such quali