We are next taught, that the natural sublimity of ina nimate forms arises from two sources ; 1st, From the nature of the objects distinguished by that form; and, 2dly, From the quantity or magnitude of the form itself. Thus forms which distinguish bodies connected with dan ger, power, durability, splendour or magnificence, awe or solemnity, are in general sublime; magnitude is su blime, as associated with power or strength; with height, it is expressive of elevation and magnanimity; with depth, of danger or terror; with length, of vastness, when ap parently unbounded of infinity ; and with breadth, it is expressive of stability. But that magnitude is only su blime in consequence of being expressive of those quali ties, is shewn by many illustrations. The conclusions which follow, are, 1st, That there is no determined magnitude which is solely or peculiarly sublime, as would necessarily be the ease were magnitude itself the cause of this emotion. 2dly, That the same visible magnitude which is sublime in one subject, is frequently the reverse in another; and, 2dly, That magnitude, according to its different appear ances, has different characters of sublimity correspond ing to the different expressions which such appearances have ; whereas, if it were itself sublime, independently of all expressions, it would, in all cases, have the same degree and the same character of sublimity.
Respecting the natural beauty of forms, it is stated, that matter is circumscribed, 1st, By either angular lines; or, 2dly, By curved or winding lines. When composed by one of those lines solely, they may be termed sim ple forms; when they are composed by an union of these lines, they may be termed complex forms. That simple forms may be described by angular or winding lines; and, as so, are connected with very different associations, or are expressive of very different qualities. That the great est part of those bodies in nature which possess hardness, durability, and strength, are distinguished by angular forms ; those, on the contrary, which possess weakness, fragility, or delicacy, are distinguished by winding or curvilinear forms; and that this is evident in the mineral, vegetable, and animal kingdom ; also, that those which grow and decay, are distinguished by winding forms, but maturer age by forms direct and angular. Likewise, that the sense of touch discovering angular forms to be ex pressive of roughness, sharpness, winding forms of soft ness, smoothness, delicacy, very early leave permanent impressions, and afford numerous associations, which form analogies with certain qualities of the mind, and produce some degree of the same emotion. The epithets bold, harsh, delicate, gentle, are universally applied to forms. It is concluded, that the emotions are founded upon the associated qualities, and are very different from the more agreeable or disagreeable sensations which material qualities alone convey.
Besides simple curves, there are serpentine forms, in which different curves take place, or in which a conti nued line winds into several cum atures, which furnishes an association of ease. When vegetables, or any other delicate body, assume their form, we are impressed with the conviction of its being easy, agreeable to their na ture, and free from force or constraint. On the contra
ry, when such bodies, in the course of their progress, assume angular forms, we have a strong impression of the operation of force.
On the subject of lines, Mr Alison makes the following important observations, which deserve the particular at tention of the architect. " Lines differ either in regard to their nature or direction. 1. Lines differ in regard to their nature, according to the different degrees of their con sistence and strength. Strong and vigorous lines are expressive to us of strength and stability, when perpen dicular; and of some degree of harshness and roughness, when horizontal, or in an oblique direction. Fine and faint lines are expressive to us of smoothness, fineness, and delicacy. In any given number of straight lines, that us always the most beautiful which is the finest; or which, while it preserves its continuity, has the appearance of the smallest quantity of matter employed in the forma tion of it." But these forms are beautiful only in conse quence of the associations we connect with them. Destroy that association, and they are no longer beautiful.
In the course of illustrating these subjects, it is stated, that the greater part of beautiful forms in nature are formed in the vegetable kingdom ; and accordingly, it is from those of the most delicate texture, that artists have selected forms to imitate, for the purpose of orna ments and elegance ; but it is only those which are par ticularly fine and delicate which are fit for these purpo ses. On the contrary, the different bodies which con stitute the mineral kingdom being distinguished by a greater degree of hardness and solidity, although they may be moulded into any form, yet the beauty of the serpentine form will be lost from the want of the asso ciation of delicacy ; and we shall feel a discontent, from the seeming impropriety of giving such durable substan ces a character which does not belong to them. But there are cases, when an adventitious delicacy is given to such substances, by which the character is retained, by the form by which we have associated with them from real nature. This effect is produced, " 1st, when the quantity of matter is so small, as to overcome our opi nion of its strength or durability ; and, 2dly, when the workmanship is so excellent, as to produce an opinion of fineness or delicacy, independent of the nature of the subject upon which it is employed." In architecture, it is observed, the great constituent parts require direct and angular lines, in order to convey the expression of stability and strength ; and that no ornament can, with any propriety, be introduced, excepting in the minute and delicate parts of the work ; and even, in such situa tions, it those ornaments exceed in size or relief that proportion in point of delicacy we expect them to hold witn respect to the whole of the building, the imitation of the most beautiful vegetable forms does not preserve them from censure of clumsiness and deformity.