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species of forms, are in themselves originally beautiful; but that their beauty in all cases arises from their being expressive to us of some pleasing or affecting qualities.

If the views also that I have presented on the subject are just, we may perhaps still farther conclude, that the principle sources of the beauty of forms are, 1st, the expressions we connect with peculiar forms, either from the form itself, or the nature of the subject thus formed: 2dly, The qualities of design, and fitness, and utility, which they indicate and 3dly, The accidental associations which we happen to connect with them. The con sideration of these different expressions may afford per haps some general rules, that may not be without their use, to those arts that are employed in the production of beauty.

All forms are either ORNAMENTAL OF USEFUL. I. The beauty of merely ORNAMENTAL forms ap pears to arise from three sources.

1. From the expression of the form itself.
2. From the expression of design.

8. From accidental expression.

The real and positive beauty, therefore, of every ornamental form, will be in proportion to the nature and the permanence of the expression by which it is distinguished. The strongest and most permanent emotion, how ever, we can receive from such expressions, is that which arises from the nature of the form itself. The emotion we receive from the expression of design, as I have already shown, is neither so strong nor so permanent; and that which accidental associations produce, perishes often with the year which gave it birth. The beauty of accidental expression, is as variable as the caprice or fancy of mankind. The beauty of the expression of de sign, varies with every period of art. The beauty which

arises from the expression of form itself, is alone permanent, as founded upon the uniform constitution of the human mind. Considering therefore the beauty of forms as constituted by the degree and the permanence of their expression, the following conclusions seem im. mediately to suggest themselves:

1. That the greatest beauty which ornamental forms can receive will be that which arises from the expression of the form itself.

2. That the next will be that which arises from the expression of design or skill.

And,

3. That the least will be that which arises from accidental or temporary expression.

In all those arts, therefore, that respect the beauty of form, it ought to be the unceasing study of the artist, to disengage his mind from the accidental associations of his age, as well as the common prejudices of his art; to labour to distinguish his productions by that pure and permanent expression, which may be felt in every age; and to disdain to borrow a transitory fame, by yielding to the temporary caprices of his time, or by exhibiting only the display of his own dexterity or skill. Or, if the accidental taste of mankind must be gratified, it is still to be remembered, that it is only in those arts, which are employed upon perishable subjects, that it can be gratified with safety; that in those greater productions of art, which are destined to last for centuries, the fame of the artist must altogether depend upon the permanence of the expression, which he can communicate to his work; and that the only expression which is thus permanent, and which can awaken the admiration of every succeeding age, is that which arises from the nature of form itself, and which is founded upon the uniform constitution of man and of nature.

II. The beauty of USEFUL forms, arises either from the expression of fitness, or of utility.

With regard to this species of beauty, it is necessary at present only to observe, 1st, that it is in itself produc tive of a much weaker emotion, than that which arises from the different sources of ornamental beauty; but, 2dly, that this emotion is of a more constant and perma nent kind, and much more uniformly fitted to excite the admiration of mankind.

To unite these different kinds of beauty to dignify ornamental forms also by use, and to raise merely useful forms into beauty, is the great object of ambition among every class of artists. Wherever both these objects can be attained, the greatest possible beauty that form can receive, will be produced; but as this can very seldom be the case, the following rules seem immediately to present themselves, for the direction of the artist.

1. That where the utility of forms is equal, that will be the most beautiful to which the most pleasing expression of form is given.

2. That when those expressions are at variance, when the utility of the form cannot be produced, without sacrificing its natural beauty, or when this beauty of form cannot be preserved without sacrificing its utility, that form will be most universally and most permanently beautiful, in which the expression of utility is most fully preserved.

To human art indeed, this union will always be difficult, and often impossible; and the artist, whatever may be his genius, must be content to suffer that sublime distress, which a great mind alone can feel, ❝ to dedicate "his life to the attainment of an ideal beauty, and to die "at last without attaining it."* Yet, if it is painful to

* Sir Joshua Reynolds.

us to feel the limits that are thus imposed to the invention of man, it is still more pleasing to us, from the narrow schools of human art, to turn our regard to the great school of nature, and to observe the stupendous wisdom with which these expressions are united in almost every form. "And here, I think," says Mr. Hogarth, “will "be the proper place to speak of a most curious differ"ence between the living machines of nature in respect "of fitness, and such poor ones in comparison with them, as men are only capable of making. A clock, by the government's order, has been made by Mr. Harrison "for the keeping of true time at sea; which is perhaps "one of the most exquisite movements ever made. Happy the ingenious contriver! although the form of the whole, or of every part of this curious machine should be ever so confused, or displeasingly shaped to the eye, and although even its movements should be disagreeable to look at, provided it answers the end pro66 posed: an ornamental composition was no part of his "scheme, otherwise than as a polish might be necessary; "if ornaments are required to be added to mend its "shape, care must be taken that they are no obstruction 66 to the movement itself, and the more as they would be "superfluous as to the main design. But, in nature's "machines, how wonderfully do we see beauty and use

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go hand in hand! Had a machine for this purpose "been nature's work, the whole and every individual

part might have had exquisite beauty of form, without "danger of destroying the exquisiteness of its motion, " even as if ornament had been the sole aim; its move"ments too might have been graceful without one super"fluous title added for either of these lovely purposes. "Now this is that curious difference between the fitness "of nature's machines, and those made by mortal hands.”

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The application of this fine observation, to innumera. ble instances, both of inanimate and animated forms, it is in the power of every one to make; and I am much more willing to leave the impression which it must make upon every mind entire, than to weaken it by any illus. trations of my own.

CHAPTER V.

Of the Beauty and Sublimity of Motion.

MOTION is in many cases productive of the emotions of sublimity and beauty. With this quality, accordingly, we have many interesting and affecting associations. These associations arise either from the nature of motion itself, or from the nature of the bodies moved. The following illustrations may perhaps show, that the beau ty and sublimity of motion arises from these associa tions, and that we have no reason to believe, that this quality of matter is in itself either beautiful or sublime.

I.

All motion is produced either by visible or invisible power: by some cause which we perceive, or by some which is not the object of sense.

With all motions of the latter kind, we connect the idea of voluntary power; and such motions are in fact expressive to us of the exertion of power. Whether this association is the consequence of experience, or whether it is the effect of an original principle, it is not at present material to inquire. The instance of children, and even of animals, who uniformly infer life, where they perceive motion without any material cause, are sufficient eviden ces of the fact.

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