contempt. If the faculty by which the beauty of colors is perceived, had any analogy to a sense, it is obvious that such variations, in our opinion of their beauty, could not take place.

3. When the particular associations we have with such colors are destroyed, their beauty is at the same time also destroyed.

The different machines, instruments, &c. which minister to the convenience of life, have in general, from the materials of which they are composed, or from the uses to which they are applied, a fixed and determined color. This color becomes accordingly in some degree beautiful, from its being the sign of such qualities; and although this effect is, in a great measure, lost from the frequency of observation, it is still observable upon many occasions. Change the accustomed color of such objects, and every man feels a kind of disappointment. This is so strong, that even if a color more generally beautiful is substituted, yet still our dissatisfaction is the same, and the new color, instead of being beautiful, becomes the reverse. Rosecolor, for instance, is a more beautiful color than that of ma hogany; yet if any man were to paint his doors and windows with rose-color, he would certainly not add to their beauty. The color of a polished steel grate is agreeable, but is not, in itself, very beautiful. Suppose it to be painted green, or violet, or crimson, all of which are much more beautiful colors, and the beauty of it will be altogether destroyed. The colors of cedar, of mahogany, of satin-wood, are not nearly so beautiful as many other colors that may be mentioned. There is no color, however, with which such woods can be painted, that would be so beautiful as the colors of the woods themselves; because they are very valuable, and the colors are, in some measure, significant to us of this value. Instances of this kind are innumerable.

There are different professions in every country, which are distinguished by different colored dresses. Whatever may

could not such variations take place? Of the different machines, instruments, &c., that minister to the convenience of life, what is remarked? From what does this color become, in some degree, beautiful; and what is said of this effect? Change the accustomed color of such objects, and what will follow? Of the strength of this disappointment, what is observed? How is this illustrated from the color of rose-wood?-from a polished grate ?—and from the

have led to this appropriation, and however fanciful and extravagant it may sometimes be, after it is established, there is felt a kind of propriety in the dress; and it is strongly associated in our minds with the qualities which such professions seem to indicate. We are in some measure disappointed, therefore, when we see a professional man not in the dress of his profession; and when he is in this dress, we conceive that there is a propriety and beauty in such a color. Change the colors of these several dresses, and all this species of beauty is destroyed. We should not only laugh at the supposition of the army and navy being dressed in black, and the church and the bar in scarlet; but we should feel, also, a discontent, as if these colors had, in themselves, a separate expression, and were in these cases misapplied. Even in reversing the dress of individuals of these different professions, the whole beauty of their dress is destroyed; and we are conscious of a feeling of impropriety, as if the qualities which are peculiar to such professions were necessarily connected with the dress they wear. So strong is this association even in trifles, and so naturally do colors become expressive to us of the qualities with which we have found them generally connected.

In natural objects the same circumstance is very apparent. There are colors, perhaps, more generally beautiful than those which distinguish trees, or rocks, or waters, or cottages, or ruins, or any of the ordinary ingredients of rural scenery; yet no colors, but the natural, could possibly be beautiful, in the imitation of such scenes; because no other colors could be expressive, to us, of those qualities which are the sources of our emotion from such objects in nature. That all the beauty, in the same manner, of plants or animals, would be destroyed, if any new colors, however generally beautiful, were substituted in the place of those by which nature has

colors of cedar, mahogany, and satin wood? What is remarked of colors peculiar to the dresses of particular professions? When we see a professional man not in the dress of his profession, and when he is in this dress, how are we affected? Change the color of these several dresses, and what will be the consequence? How is this illustrated? What is the effect of reversing the dress of individuals of the different professions? How does it appear that in natural objects the same circumstance is apparent? Of the obviousness of the beauty of plants and animals, from the same associations, what is remarked?

distinguished their different classes, and which are of consequence associated in our minds with all the qualities which they possess, is so obvious, that it is altogether unnecessary to attempt the illustration of it. That this principle applies also to the colors of dress, and that the same color is beautiful or not, as the expression which it has is suited to the character or situation of the person who wears it, every person may satisfy himself by a little attention. As thus there is no color whatever, which, in all situations, is beautiful, and as, on the contrary, the beauty of every color is destroyed, whenever the associations we have with it are dissolved, it seems reasonable to conclude, that the beauty of such qualities arises from their expression, and not from any original fitness in them to produce this emotion.

4. If the beauty of colors arose from any original fitness in them to produce this emotion, it is apparent, that they who are incapable of such perceptions, must be incapable of such emo tion. That the blind, however, may receive the same delight, from the ideas which they associate with colors, that they do who see, is a fact of which I think every one will be convinced, who reads the poems of Dr. Blacklock. No man who is not acquainted with the history of their ingenious author, could perceive that he had the misfortune to lose his sight in early infancy. That from conversation, and from the perusal of books of poetry, it was possible for him to learn the distinguishing colors of certain objects, and to apply them with sufficient propriety in his own verses, I do not deny ; but the circumstance of importance at present is this, that his poetry is full of the same sentiments, and expresses the same admiration with regard to the different visible qualities of matter, with that of poets who have had no such defect; and that the same power is ascribed to them in producing the emotions of beauty, and with as great accuracy with regard to particular instances, as in

Of what may every person satisfy himself by a little attention? What conclusion seems reasonable? If the beauty of colors arose from any original fitness in them to produce this emotion, what is apparent? Of what will every one be convinced, who reads the poems of Dr. Blacklock? What could no man, unacquainted with his history, perceive? What does our author not deny; but at present what is the circumstance of importance? If our per

the compositions of those who have had the sense of sight in its fullest perfection. If our perception of the beauty of colors arose from some original fitness in such qualities to produce this emotion, it is obvious, that the blind must be as incapable of perceiving this beauty, as of perceiving the colors themselves; but if the beauty of colors arises from the associations we connect with them, this fact, in the case of Dr. Blacklock, admits of a very simple solution. From reading, and from conversation, he has acquired the same associations with the words that express such colors, as we have with the colors themselves; that the word white, for instance, signifies a quality in objects expressive of cheerfulness and innocence; the word purple, the quality of majesty; the word black, the quality of gloom and melancholy, &c. In this case, it is obvious, that he may feel the same emotions from the use of these words, that we do from the colors which they express; and that from the permanence of these associations in a great variety of cases, he may apply the terms with sufficient propriety, either in sublime or beautiful description. As this is, in reality, the case, it seems to be a very strong confirmation of the opinion, that the beauty of such qualities arises from the associations we connect with them, and not from any original or independent beauty in the colors themselves.

ception of the beauty of colors arose from some original fitness in such qualities to produce this emotion, what is obvious; but what follows? From reading and from conversation, what has he acquired? What instances are mentioned? In this case what may he feel: and what may he do? As this is, in reality, the case, of what opinion does it seem to be a very strong confirmation?

CHAPTER IV.

OF FORMS.

Of all material qualities, that which is most generally, and most naturally productive of the emotions of sublimity and beauty, is form. Other qualities may be separated from most objects, without destroying their nature; but the form of every material object, in a great measure, constitutes its nature and essence, and cannot be destroyed, without destroying the individual subject to which it belongs. From whatever cause, therefore, the beauty of any material object proceeds, it is natural to ascribe it to the form, or to that quality which most intimately belongs to the object, and constitutes its essence to our senses. The common opinion, therefore, undoubtedly is, that forms, in themselves, are beautiful; that there is an original and essential beauty in some particular forms; and that this quality is as immediately discernible in them, as the forms themselves.

Philosophers, however, have not been satisfied with this com. mon opinion. The supposition of such an original and independent beauty in forms, has been found inconsistent with many phenomena, and some more general principle was wanted, under which the different facts upon this subject might be tolerably arranged. Many theories, accordingly, have been formed to account for this species of beauty. Some have resolved it into a sense of proportion, and endeavored to establish, by

Of all material qualities, which is most naturally productive of the emotions of sublimity and beauty? What is remarked of other qualities; but of form, what is observed? What remark follows? What, therefore, is the common opinion? Of the supposition of such an original and independent beauty in forms, what is observed? Among the many theories that have been formed to account for this species of beauty, into what have some resolved it; and what have they endeavored to establish? What farther opinions have been