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unreasoning association, and it stands in conspicuous contrast with that of taste, refuting the explanation offered of its stable phenomena. The uniform admiration bestowed by different nations and generations on objects of beauty; the first high estimates which give direction to public opinion; the word beauty, accepting in careful speech no synonym; the fine arts, a distinctly bounded territory, eliciting the most skillful and prolonged attention; and the well-established principles of this department, show that the fickle fanciful connections of association furnish no sufficient theory of taste.

That the quality, beauty, accepted as unresolvable into any other, is of intuitive origin is seen in the fact, that it is not directly a quality of things, but of intellections. An intellection is the product of the mind. The qualities, forms, and relations of an object its expression are by studious observation brought before the mind. This estimate which the intellect makes of all that unfolds the character, the emotional power of an object, is an intellection, and in the object thus conceived, thus unfolded in the thoughts, beauty is seen to inhere. As beauty thus does not belong to a flower, a tree, a landscape, a bird, a man, merely as a sensible object, but to them as products of an arranging, vitalizing, perfecting power; as it is seen not in the thing simply, but in it as conceived by the mind, it must be the object of an interior, intuitive faculty, which can take into its contemplation the appropriate intellection. An act of exposition more or less complete, has followed perception, and thus the object has been taken from the senses into the mind, and there awaits the insight of the reason. The qualities one and all which make up the expression pronounced beautiful are not the very beauty which we attribute to the cathedral, the painting, or the statue. The skill, proportion, height of the towering edifice