gation to be perceived! In the former case, whilst we look up
to the Maker with admiration and praise, the object which causes it may
be odious and distasteful; the latter very often so touches us by its
power on the imagination, that we examine but little into the artifice
of its contrivance; and we have need of a strong effort of our reason to
disentangle our minds from the allurements of the object, to a
consideration of that wisdom which invented so powerful a machine. The
effect of proportion and fitness, at least so far as they proceed from a
mere consideration of the work itself, produce approbation, the
acquiescence of the understanding, but not love, nor any passion of that
species. When we examine the structure of a watch, when we come to know
thoroughly the use of every part of it, satisfied as we are with the
fitness of the whole, we are far enough from perceiving anything like
beauty in the watch-work itself; but let us look on the case, the labor
of some curious artist in engraving, with little or no idea of use, we
shall have a much livelier idea of beauty than we ever could have had
from the watch itself, though the masterpiece of Graham. In beauty, as I
said, the effect is previous to any knowledge of the use; but to judge
of proportion, we must know the end for which any work is designed.
According to the end, the proportion varies. Thus there is one
proportion of a tower, another of a house; one proportion of a gallery,
another of a hall, another of a chamber. To judge of the proportions of
these, you must be first acquainted with the purposes for which they
were designed. Good sense and experience acting together, find out what
is fit to be done in every work of art. We are rational creatures, and
in all our works we ought to regard their end and purpose; the
gratification of any passion, how innocent soever, ought only to be of
secondary consideration. Herein is placed the real power of fitness and
proportion; they operate on the understanding considering them, which
_approves_ the work and acquiesces in it. The passions, and the
imagination which principally raises them, have here very little to do.
When a room appears in its original nakedness, bare walls and a plain
ceiling: let its proportion be ever so excellent, it pleases very
little; a cold approbation is the utmost we can reach; a much worse
proportioned room with elegant mouldings and fine festoons, glasses, and
other merely ornamental furni