that disposition of points, or manner of appearance, in which they agree. Nay, even when the resemblance is carried beyond the objects of one sense, and the impressions of touch are found to be similar to those of sight in the disposition of their parts, this does not hinder the abstract idea from representing both on account of their resemblance’. [3] [1] Above, paragraph 233. Though, as we shall see, he does so in one passage. [2] Above, paragraph 235. [3] P. 341 [Book I, part II., sec. III.] In so doing, he implies that space is a relation, and a relation which is not a possible impression. 250. If words have any meaning, the above must imply that the disposition of points is at least a different idea from either colour or tangibility, however impossible it may be for us to experience it without one or other of the latter. Nor can we suppose that this impression, other than colour, is one that first results from the composition of colours, even if we admit that such composition could yield a result different from colour. According to Hume, the components of the compound impression are already impressions of coloured ‘points, atoms, or corpuscles,’ and such points imply just that limitation by mutual externality, which is already the disposition in question. Is this ‘disposition,’ then, an impression of sensation? If so, ‘through which of the senses is it received? If it be perceived by the eyes it must be a colour,’ &c. &c.; [1] but from colour, the impression with which Hume would have identified it if he could, he yet finds himself obliged virtually to distinguish it. It is a relation, and not even one of those relations, such as resemblance, which in Hume’s language, ‘depending on the nature of the impressions related,’ [2] may plausibly be reckoned to be themselves impressions. The ‘disposition’ of parts and their ‘situation’ he uses interchangeably, and the situation of impressions he expressly opposes to their ‘nature’ [3]--that nature in respect of which all impressions, call them what we like, are ‘originally on the same footing’ with pain and pleasure. Consistently with this he pronounces the ‘external position’ of objects--their position as bodies external to each other and to our body--to be no datum of sense, no impression or idea, at all. [4] Our belief in it has to be accounted for as a complex result of ‘propensities to feign.’ How, then, can there be an impression of that which does not belong to the nature of any impression? What difference is there between ‘bodies’ and ‘corpuscles endowed with colour and solidity,’ that the outwardness of the latter to each other--also called their ‘distance’ from each, other [5]--should be an impression, while it is admitted that the same relation between ‘bodies’ cannot be so? [1] Above, paragraph 208.