"Grave sound is connected with ideas of moderation, dignity, solemnity, &c., principally, I believe, from all moderate, or restrained, or chastened affections being distinguished by such tones in the human voice. "Acute sound is expressive of pain, or fear, or surprise, &c., and generally operates by producing some degree of astonishment. This association, also, seems principally to arise from our experience of such connexions in the human voice. "Long or lengthened sound seems to me to have no expression in itself, but only to signify the continuance of that quality which is signified by other qualities of sound. A loud or a low, a grave or an acute sound prolonged expresses to us no more than the continuance of the quality which is generally signified by such sounds. "Short or abrupt sound has a contrary expression, and signifies the sudden cessation of the quality thus expressed. "Increasing sound signifies, in the same manner, the increase of the quality expressed. "Decreasing sound signifies the gradual diminution of such qualities. "Motion furnishes another sort of beauty. "Figure, color, and motion, readily blend in one object, and one general perception of beauty. In many beautiful objects they all unite, and render the beauty greater." These characteristics are too universal not to support the doctrine of natural appropriation and power, of which association is merely a consequence. It may be said, that all this chiefly regards mere geometrical forms, not objects in nature. But, on referring to inanimate objects, it will be found that they everywhere present these forms. The round, the simplest form appears to characterize all elementary bodies and all that are free from compression, to be in fact the most elementary and the most readily assumed in nature. This form, accordingly, is presented by the drops of water and of every liquid, by every atom probably of oxygen, hydrogen, and azote, by the smallest as well as the largest bodies, even the innumerable celestial orbs. All the other, the angular forms are presented by inanimate bodies under compression, or by mineral crystals. Thus, then, do these simple geometrical forms characterize the simplest bodies in nature; and it appears that this first kind of beauty is peculiarly their own. It will, in the sequel, be as clearly seen, that each of the other classes of natural beings presents beauty of a different kind, which similarly characterizes it. Hence, no rational theory of beauty could be formed by writers, who indiscriminatingly jumbled together the characteristics of all the kinds of beauty, and expected to find them everywhere.