If, to such a man, it should for a moment have appeared worth while to ask why we do not make use of feeling-boards, as well as of smelling-bottles, he ought to have sought the solution of his difficulty in the nature of the senses; and then, with a trifle more of ability than Payne Knight hereby shows himself to have possessed, he would have seen that smoothness affords us as much pleasure as any smell, but that, as it would have been always troublesome, and often impossible, to apply our fingers to smooth surfaces, we generally receive the varied and incessant pleasure it affords, by means of sight; that it is borne by light to the eye, as smell is by the air; and that this is the reason why, except when contact is indispensable, we have no need of anything in the way of a feeling-board. But Knight says: "Smoothness being properly a quality, perceivable only by the touch, and applied metaphorically to the objects of the other senses, we often apply it, very improperly, to those of vision; assigning smoothness as a cause of visible beauty, to things which, though smooth to the touch, cast the most sharp, harsh, and angular reflections of light upon the eyes; and these reflections are all that the eye feels, or naturally perceives.... Such are all objects of cut-glass or polished metal; as may be seen by the manner in which painters imitate them: for, as the imitations of painting extend only to the visible qualities of bodies, they show those visible qualities fairly and impartially.... Yet the imitative representation of such objects in painting is far less harsh and dazzling than the effects of them in reality: for there are no materials that a painter can employ, capable of expressing the sharpness and brilliancy of those angular reflections of the collected and condensed rays, which are emitted from the surfaces of polished metals." It seems, to me, scarcely possible to find sophistry more worthless than this, or rather a more contemptible quibble; for that which, availing himself of our technicalities about light, he calls angularity, sharpness, &c., has no analogy with disagreeable angularity of form. To produce the brilliance and splendor which he calls angular, and describes as so _offensive_, we polish crystalline and metallic bodies in the highest degree!--we value precisely those which thus admit of greatest splendor!--and, on that very account, the diamond (rightly or wrongly, is not the question) is deemed the most valuable object on earth! So much for those elements of beauty, in inanimate things, which fall under the cognizance of our fundamental sense, or that of touch. As to sight and its objects, it is true that, as this organ varies in different persons, their taste is modified, with regard to colors. But the preference of light and delicate colors to dark and glaring ones, is almost universal among persons of sensibility.