In further illustrating this subject, it is strongly urged, that, besides the curvilinear form, all those which are ex pressive of delicacy are also beautiful. Such as the glass lustre, which is all angular, the form of the prism, the sword hilt, watch chain, and the forms of various jewels ; which, in those hard substances, arises from their being the forms in which there is the smallest possible quan tities of matter, being capable of receiving the finest po lish, and producing the greatest brilliancy. But one of the most striking instances of the beauty of angular forms, is afforded in the antient tripods, in which there is the utmost possible diminution of solidity, that is consistent with convenience or use ; and by its shape converg ing, and its dimensions lessening as they descend to the ground, there is scarcely a possibility of contriving a more angular form, or one where the slightness and ap parent instability of the whole fabric can be more expres sive of delicacy ; and accordingly, from the principles of this delicate model, the greater part of the most beautiful articles of modern furniture are imitated. From the whole of this investigation respecting the beauty of natural forms, the following conclusions are drawn :-1. " That the beauty of such forms arises from the qualities of fine ness, delicacy, or case, of which they are expressive.
2. That in every subject (whether angular or curvili near) that which is the most expressive of these qualities, is the most 'beautiful form. And, 3. That in general, the curvilinear, or winding forin, as most frequently expressive of these qualities, is the most beautiful. With regard also to those arts which are employed in the imitation or invention of ornamental forms, the following observations may not be without their use.
1. That wherever natural forms are imitated, those will be the most beautiful, which are most expressive of delicacy and ease.
2. That wherever new or arbitrary forms are invented, that form will be most beautiful, which is composed Gf the most beautiful lines ; or in other words, by lines which have the most pleasing expression. And, 3. That wherever the subject of the form is of a hard or durable nature, that form will be most beautiful in which the smallest quantity of matter is employed, and the greatest delicacy of execution exerted." What has just been stated, relates to simple forms on ly, or to such as are described by a simple line. But as in the greater part of the beautiful forms of nature or art, lines of different descriptions unite, it is necessary to consider the composition of forms ; and in doing this, it is observed, that simple forms are distinguished to the eye by the uniformity or similarity of the line by which they are described. Complex forms, by the mixture of similarity and dissimilarity in those lines, or in other words, by their uniformity and variety.
Great pains are bestowed to make out distinctly, that the mere composition of uniformity and variety, or simi larity and dissimilarity of form, is not in itself beautiful, but only where the objects have some general determinate character or expression, and where there is a relation among the different parts of this general character ; that different proportions of uniformity and variety are requi red in forms of different character ; that all powerful emotions, and all emotions bordering upon pain, demand uniformity and sameness ; and all weak emotions, and all emotions which belong to positive pleasure, demand variety or novelty.
From the whole of the discussions, the following excel lent rules are laid down.
" That whenever beautiful form is intended, some character or expressive form should be selected, as the ground or subject of the composition.
2. That the variety, (whether in the form, the num ber, or the proportion of the parts,) should be adapted to the peculiar nature of this expression, or of that emotion, which this expression is fitted to excite.
3. Forms of this kind are either simple or dependent.
In simple or independent forms, their character is at the pleasure of the artist ; and that will always be the most beautiful, in which the character is best preserved.
4. In dependent forms, on the contrary, or those which are designed for particular scenes or situations, their character must he determined by that of the scene or situation ; and that also will be the most beautiful form, in the composition of which the alliance to the general character is most precise and delicate." Having discussed what relates to simple and composed forms, or what constitutes their natural beauty, the next object of consideration is the qualities which constitute their relatis e beauty. From the discovery of fitness or utility, we infer the existence of design. In forms dis tinguished by such qualities, the discovery of an end sug gests intention or design ; and the qualities of form, which signify this fitness or usefulness, are signs of the design or thought which produce them. But expression of de sign may be perceived in an object in which neither fit ness or utility are to be discovered : this is evidence, " that there are certain qualities of form which are im mediately and permanently expressive to us of those qua lities of mind, and which derive their beauty from their expression." The natural quality most powerfully expressive of de sign, is uniformity or regularity. In every form where this quality is observed, we infer design ; and from the absence of it, we consider the production the work of chance.