CHAPTER I.

TECHNOLOGY.

RELATIONS OF ART.

SECTION I.

1653. In the present Outline, we have three principal objects, in conformity with the fundamental theory delivered in our first Outline: the first of which, in our present view, and the subject of this chapter, is the developement of the RELATIONS OF ART in their genera and species, to which the term Technology is principally appropriate.

1654. The second object in the view of science, although first in the view of nature, is to trace the general PRINCIPLES OF ART, which may be denoted by the term Technics.

1655. And the last object, in each of these views, is to indicate the ultimate PURPOSES OF ART, appropriately denominated Teleology, or the science of ends, and the ends of art, or Teleurgy;

and of these, we will attempt the analyses in distinct chapters.

1656. In developing the Relations of Art, as we have before remarked, the plan of science must be our guide; because art is coincident with science, and every science has its art; and because there is no art without its particular and appropriate science and both are coincident with nature. Such developement is also requisite, ere we can adequately trace either the general principles or the purposes of art, which rest upon the same foundation.

1657. Technology, in its widest sense, comprehends all doing, or art. Externally, or physically, there is the doing of nature; but art cannot do what is not in nature: nature is, therefore, the fountain of all archetypes; the science of which may be called Hypotechnics.

1658. Internally, intellectually, or metaphysically, there is the doing of God, the Divine intelligence, the doer of all good,

the end of all; but art can devise nothing beyond human intelligence: the ultimate purposes of Divine intelligence comprehend, therefore, the ends of all art, and all nature. The science of final purposes, or Divine ends, may, therefore, be called Metatechnics.

1659. Between these, medially or sensibly, there is the doing of man; but this is Art properly limited with regard to man: the general science of which may properly be denominated, in reference

to principles, Technics; in reference to ends, Teleology or Teleurgy; and, in reference to relations, Technology and this latter is that principal division of our outline which lies before us first for analysis.

1660. As to Hypotechnics and Metatechnics, they are conceivable portions of universal art, and may become subjects of speculation; but they lie beyond the field of practice, and are no parts of the human system of art.

SECTION II.

1661. TECHNOLOGY, then, being limited to the relations of art, which correspond to the relations of science, is either external, medial, or internal; for these supply the form of all distribution in science and art; they being, in fact, the first relations of the philosophic system, and the ground of all other relations.

1662. As, however, our design has a medial reference between established art and its strict relations to nature and universal science, and having an eye equally to utility and truth, it will be inexpedient that we should enter into all the ramifications of art; and it will be necessary only that we should trace those leading branches to which art principally refers.

1663. And, since the chief subjects of the in

ternal, medial, and external, are severally thoughts, words, and things, and art has principal reference to things, and we have already treated of the relations of thoughts, the science of which is Logic, and of the relations of words, which belong to Philology, each in the double respect of science and art, we may confine our distribution of art to the relations of science, or to the like relations of things, as distinguished from words and thoughts.

1664. In this view, we may regard art as divided, externally or physically, into Material Arts; medially or esthetically, into Fine Arts ; and, internally or ethically, into Moral Arts: and these may be considered as the first genera of Art, under which the various specific and different arts may be comprehended.

SECTION III.

1665. AS MATERIAL ART, like nature, refers to powers, and the three kingdoms of nature, there are, in reference to external material powers, Chemic Arts; in reference to internal or living powers, laborial or manual, and Medical Arts,-to which belong Surgery or Chirurgy; and, in reference to both these medially, mechanical powers, Agriculture, and the Mechanic Arts.

1666. And these arts, the species of which are naturally infinite and practically innumerable, are

already recognized as specific classes of art, including those commonly called the useful arts: the first of which operate principally through physical or material agency; the second, through vital agency; and the last, principally through the agency of machines.

1667. We say principally; for in each there is, according to just universal analogy, some accordance of the others, there being no absolute disjunction nor distinction either in science or in art: and every art has in it some reference and relation, proximate or remote, to all art, all science, and all things.

SECTION IV.

1668. Again, of FINE ART, we have, in external and material relation, the Pictural and Plastic Arts ; in medial and sensible relation, there are the Musical or Harmonic Arts; and, in internal and intellectual relation, there are the Poetic Arts: and of these, there are no absolute distinctions, but only subordination of relations, in which each has some admixture of the others.

1669. Accordingly, there are the relations of harmony in each, of figure also,-and of poetic sentiment. And these classes of art are also recognized and received, and their principals, Music, Painting, and Poetry, are universally acknowledged, and called the Sister Arts.