n form and common sense I place common ease of
body and of mind: unfelt health, unfelt good, or that arising to the
degree of _satisfaction_ and _content_; in fine, whatever we call
_commonly_ good, and requisite for the well-being of humanity.

Section 2. _Beauty and Truth_.

I mean that beauty which is demonstrable truth, and that truth which
is demonstrable beauty. _Exactitude. Completion. The just medium. The
satisfactory rest of the mind. Perfection_. A point, indeed, in which
the mind cannot rest! It must go forward or backward. If the latter,
it relapses into the dominion of error; if the former, if assumes
the charms of _design_, or _intention_. The artist, arrived at the
ultimate limit of rules, or demonstrable truth, stands, as it were,
between the visible and invisible world; between that of sense and
intellect; the common and the uncommon; and his productions will be a
conjunction of both. He looks back through all the variety of common
nature, and reviews, through the medium of truth and beauty, the
various objects it exhibits; and on its spotless ground, i.e. the
abstract idea of nature without defects, can only exist in idea,
he arranges those objects, objects, so as they may best produce the
effects he aims at in his art. He does not attempt to obliterate
any character in the common circle of nature; but, following her
own oeconomy, he endeavours, by juxtaposition, &c. to make each
subservient to each in creating delight, and giving beauty to the
_whole_. But, to descend from the abstract general idea to the
particular idea of beauty, or idea of a particular form:

We discard every thing, that is not beauty, to compose beauty; but
every thing that is not beauty is not therefore deformity. The wrong
we see in each individual we do not call deformity: when it is so, it
stands on the limit of the common circle, in opposition to beauty.

From common form seem to originate beauty and deformity; and, as they
recede from each other in opposite directions, they become less and
less like their parent, _common form_, but never totally unlike; for
it is their likeness to that form that constitutes the one beauty, and
the other deformity; for, were there no resemblance in deformity
to the common form, it would be a different species, and no longer
disgust; and none in beauty, it would no longer please.

There is no particular common form, but which, to create beauty, an
artist, who studies the perfection of t