Emotions from the use of these words, that we do from the Colours 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 Colours themselves.

CHAPTER IV.

Of Forms.

Or 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 mate rial 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 com

mon 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 common 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 endeavoured to establish, by analogy from our other senses, certain proportions which are immediately and permanently beautiful. Others have accounted for this Beauty from the union of Uniformity and Variety. Some have supposed it to arise from the consideration of Utility. Others

have asserted, that the Beauty of Forms arises from their Commonness, and that the beautiful Form is that which is most generally met with in objects of the same kind. Mr Hogarth, in opposition to all, considers the beautiful Form as being described by lines of a particular kind, and has produced a great variety of instances in support of his opinion.

It is not my design at present, to enter into any examination of these several opinions. In all of them, I believe, there is something true to a certain extent, though I believe also, that they have arisen from a partial view of the subject, and are inadequate to account for the greater number of the phenomena.

I may be allowed, however, to observe, that of the two, the common opinion is by much the most defensible. To reduce the great variety of instances of Beauty in Forms to any single principle, seems at first sight altogether impossible; not only from

this variety, but also, in innumerable cases, from the contrary nature of the Forms, which, in fact, are Beautiful. As no Theory, besides, can possibly be maintained without some foundation in Nature, the number of Theories which have been pro duced upon this subject, are, in themselves an evidence, that this Beauty arises from more causes than any one of these Theories comprehends.

The principle which I have endeavoured to illustrate, with regard to the Beauty and Sublimity of Sounds and Colours, will, perhaps, be found to be equally applicable to the Beauty or Sublimity of Forms: and, as far as I can judge, is free from the objec tions which may be stated both to the common and the philosophical opinions. In the observations which follow, I shall therefore endeavour to shew, That the Sublimity or Beauty of Forms arises altogether from the Associations we connect with them, or the Qualities of which they are expressive