cient proof that the colour, if regarded from an aesthetic
point of view, is accidental. Therefore, when, as in other cases, such
colouring occurs upon the surface, and thus becomes apparent, are we not
irresistibly led to conclude that its _exhibition_ in such cases is
likewise accidental, so far as any question of aesthetic design is
concerned?

I have now briefly glanced at all the main facts of organic nature with
reference to beauty; and, as a result, I think it is impossible to
resist the general conclusion, that in organic nature beauty does not
exist as an end _per se_. All cases where beauty can be pointed to in
organic nature are seemingly due--either to natural selection, acting
without reference to beauty, but to utility; to sexual selection, acting
with reference to the taste of animals; or else to sheer accident. And
if this general conclusion should be held to need any special
verification, is it not to be found in the numberless cases where
organic nature not only fails to be beautiful, but reveals itself as the
reverse. Not again to refer to the case of parasites, what can be more
unshapely than a hippopotamus, or more generally repulsive than a
crocodile? If it be said that these are exceptions, and that the forms
of animals as a rule are graceful, the answer--even apart from
parasites--is obvious. In all cases where the habits of life are such as
to render rapid locomotion a matter of utilitarian necessity, the
outlines of an animal _must_ be graceful--else, whether the locomotion
be terrestrial, aerial, or aquatic, it must fail to be swift. Hence it
is only in such cases as that of the hippopotamus, rhinoceros,
elephant, crocodile, and so forth, where natural selection has had no
concern in developing speed, that the accompanying accident of
gracefulness can be allowed to disappear. But if beauty in organic
nature had been in itself what may be termed an artistic object on the
part of a divine Creator, it is absurd to suggest that his design in
this matter should only have been allowed to appear where we are able to
detect other and very good reasons for its appearance.

* * * * *

Thus, whether we look to the facts of adaptation or to those of beauty,
everywhere throughout organic nature we meet with abundant evidence of
natural causation, while nowhere do we meet with any independent
evidence of supernatural design. But, having led up to this conclusion,
and having