"The effects of proportion and fitness," he says, "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 watchwork 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." It is an emotion of pleasure which is the inevitable result of the perception of beauty, not love, nor any passion of the kind. These will or will not follow, according to the nature of the object, and of the mind of the observer. A hill, a valley, or a rivulet, may be beautiful, and it will excite an emotion of pleasure when its beauty is discerned; but it may produce no desire or passion of love. There may exist, then, the beauty of utility, as to the structure of the watch, and that of ornament as to its case; and some minds will more readily perceive the one; others, the other. When Burke adds, "In beauty, 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;" he forgets, that, in the instance of the barber's block, &c., he showed that the perception of beauty, as well as proportion, required observation, experience, and reflection. _Beauty of Ornamental Objects._ There are three great arts which, under circumstances of high civilization, become ornamental, namely, landscape-gardening, architecture, and dress--the particular arts by which our persons are more or less closely invested;[14] and all of them, then, require beauty of the second kind, that which belongs particularly to vegetable beings, and is characterized by delicate, bending varied, and contrasted forms. All these, regarded as ornamental arts, have chiefly bodily and sensual pleasures for their purpose; and this I consider as distinguishing them from the intellectual arts, which have a higher purpose. Of landscape-gardening, the materials are plants, and therefore its beauty is evidently dependant on, or rather composed of, theirs. The same kind of beauty will be found in every ornamental art. Hence, Alison says: "The greater part of beautiful forms in nature, are to be found in the vegetable kingdom, in the forms of flowers, of foliage, of shrubs, and in those assumed by the young shoots of trees. It is from them, accordingly, that almost all those forms have been imitated, which have been employed by artists for the purposes of ornament and elegance."