analogy, association, and subordination; and, in moral art, the practice of Christianity, throughout the world, has been of chief excellence, and has done much toward ameliorating the condition of mankind in particular morals, and in general policy, upon the ground of a universalizing religion; although, on these heads, much remains in its power to be accomplished.

1785. Of the degrading and adverse powers of false principles in moral art, we need no greater proofs than may be deduced from the selfish individualizing morality of a Chesterfield or a Mandeville, -the crafty and lawless policy of a Machiavelli, and the religious domination of a Mahomet.

1786. But not only do the above principles regulate the genera of art respectively, but in the highest of all respects they extend to the universe itself, comprehending all things subordinated to one principal, wherein the hand of design is everywhere apparent, and God himself manifest throughout.

1787. It is the same in every individual design; be it a poem, a picture, a melody, a machine, a book, a building, a pleasure-ground, or any other device; it should, we repeat, have a principal to which everything else it contains is to be subordinated, as a part to the whole: the parts of the parts even should partake of a like subordinated variety in unity or universality, having extremes and mean, a beginning, a middle, and an end;

and, with all these, a reference also to the faculty or sense it addresses: for all art is addressed to active or passive intellect, either separately or united.

1788. If, for example, the design address the eye, it becomes a principle that the work under every change of view should present something varied in relation, and agreeable to vision; and the same principle applies to whatever sense or faculty the design belongs. Thus, in looking downward in works of taste and art, diversity belongs to the object, as unity does in the upward view, while in the mean they are subordinated; and the regulation of all art springs from the relations of a particular and general to the universal.

1789. But as none of the relations of science are absolute, neither are any of the rules and principles of art absolute, but admit of endless variation, according to relations; and it is in the nice adaptation or adjustment of these varied relations, as in the regulated varying and breaking of colours and sounds, that taste, tact, genius, and ability, produce and display the finest efforts and effects of art.

1790. The last and inclusive principle of all art is, that there should be, as much as possible, in every work an undeviating harmony of all its parts, particular and general, and of the whole; and it is this entire accordance that renders the doings of God in nature so exquisite and so effective of their

ends, and the universe so perfectly beautiful and good.

1791. It does not follow that discordance is not to be employed as a principle of Art, for thereon depend all effect and contrast; but there must be no unresolved discordance: for from the resolution of discordance it is that harmony springs. It is, therefore, in the reconciling of opposite powers that all great, beautiful, and useful works are produced; and it follows as a principle, concurrent with the above, that discordants are to be employed for augmenting the effects of art, as subservients, but never as principals, and always subdued or subjected, disguised and overpowered, by their archeii.

1792. So much for the principles of art: nevertheless, we are far from imagining that the principles and regulation of art proposed in this brief chapter, constitute the perfect and entire code of technical practice; to deliver which is neither in our power, for the rules of art are unbounded: nor is it in our intention, which is throughout these outlines to indagate the universal, and to propose an improved mode of developement, illustrated only by occasional instances.

1793. Our present aim will, therefore, have been accomplished, if we have rendered it as universally evident as it is generally apparent, that all arts are related,- that they have certain master principles which are connected, and certain ends

that are united; and if we have also established the inference that they will infringe less on each other, and tend with greater freedom and certainty toward perfection, when their just regulation shall be founded upon their true relations.

1794. To conclude: he who knows the regulations of Nature, and has acquired the just rules of Art, has open to him fields of pleasure and enjoyment, abounding with the most beautiful objects and exercises, and contemplations of universal extent and infinite resource, from which he who is ignorant is shut out, and of which he little thinks, or can at all imagine, the true value.`

CHAPTER III.

TELEOLOGY.

PURPOSES OF ART.

SECTION I.

1795. Of the relations and principles which belong to art, and of the necessity of a just comprehension of them to correct practice and progress therein, we have briefly spoken in the preceding chapters it remains only, therefore, that we treat, in like manner, of the purposes, which are of chief importance in art; for the object of every art is some end or design and this subject, as a whole, involves the end or art of arts, or Teleurgy, and

the science of ends, or TELEOLOGY.

1796. We have shewn, in the commencement, that the characteristic of all design is Good, even malverse design having some mistaken good for its object; but genuine good, or right, is the fulfilment of an end which harmonizes with universal good, and