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 productive 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 ful- . ly 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 46 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. Hap

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py 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 dis"agreeable 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 "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 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."

The application of this fine observation, to innumerable 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 illustrations 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 beauty and sublimity of motion arises from these associations, and that we have no reason to believe, that this quality of matter is in itself either beautiful or sublime.

1

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 evidences of the fact.

That the sublimity and beauty of motion arises from their expression of power, seems to be evident from the two following considerations :

1. There is no instance where motion, which is the apparent effect of force, is beautiful or sublime. It is impossible to conceive the motion of a body that is dragged or visibly impelled by another body, as either sublime or beautiful.

2. All beautiful or sublime motion is expressed in language by verbs in the active voice. We say even in common language, that a torrent pours-a stream glides

a rivulet winds-that lightning darts-that light streams. Change these expressions, by means of any verbs in the passive voice, and the whole beauty of their motion is destroyed. In poetical composition, the same circumstance is uniformly observable. If motion were in itself beautiful or sublime, or if any particular kinds of motion were so, these circumstances could not happen; and such motions would still be beautiful or sublime, whether they were expressive of power or not.

The character of power varies according to its degree, and produces, according to this difference, different emotions in our mind. Great power produces an emotion of awe and admiration. Gentle, or moderate, or diminutive power, produces an emotion of tenderness, of interest, of affection. To every species of power that is pleasing, the idea of superiority to obstacle is necessary. All power, whether great or small, which is inferior to obstacle, induces the idea of imperfection, and is considered with a kind of dissatisfaction.

These considerations will probably explain a great part of the absolute sublimity and beauty of motion. Motion differs according to its DEGREE, and according to its DIRECTION.

I. Of the DEGREE OF MOTION. All motion, when rapid, is, I apprehend, accompanied with the idea of great power. When slow, on the other hand, with the idea of gentle or diminutive power. For the truth of this remark, I must appeal to the reder's own observation. Rapid motion, accordingly, is sublime, slow motion beautiful.

II. Of the DIRECTION of MOTION. Motion is either in a straight line, in an angular line, or in a serpentine or curvilinear line.

1. Motion in a straight line chiefly derives its expression from its degree. When rapid, it is simply sublime: When slow, it is simply beautiful.

2. Motion in an angular line is expressive of obstruction, or of imperfect power. When considered therefore in itself, and without relation to the body moving, it is simply unpleasing.

3. Motion in curves is expressive of ease, of freedom, of playfulness, and is consequently beautiful.

The real

The truth of this account of our associations with motion, I refer to the examination of the reader. beauty and sublimity of the different appearances of mo tion, seem to me to correspond very accurately with the expressions which the different combinations of the degree, and the direction of motion, convey to us.

1. Rapid motion, in a straight line, is simply expres sive of great power. It is accordingly, in general, sublime. Rapid motion in angular lines, is expressive of great, but imperfect power, of a a power which every obstacle is sufficient to overcome. I believe that motion of this kind is accordingly very seldom sublime: Rapid motion in curve lines is expressive of great power, united with ease, freedom, or playfulness. Motion of this kind, accordingly, though more sublime than the preced