But why are these definitions and general terms, which seem to be the master-piece of invention, so exceedingly defective? Is this error the defect of human understanding? or rather, is it not an incapacity, or pure inability, of combining, and perceiving a number of objects at one view? Let us compare the works of nature with those of man: let us examine how both operate, and then enquire whether the human mind, however active and extensive, can follow the same route, without being lost either in the immensity of space, the obscurity of time, or in the infinite combinations of beings? Let a man direct his mind to any object if he would avoid being misled, he must walk in a direct line, pass over the least space, and employ the least possible time to accomplish his end. But in this pursuit, what a number of reflections and combinations must he make to avoid those deceitful and fallacious roads which at first offer themselves in such numbers, that it requires the greatest and nicest discernment to choose the true and direct path? This path, however, is not beyond the depth of the human mind; and by this only sure and solid method he arrives at the destined point of view; but if he seeks another point, it can only be obtained by another line. The train of our ideas is a delicate thread, which only extends in length without any other dimensions; while Nature, on the contrary, does not take a single step, without extending on all sides, and passing at once through the three dimensions of length, breadth and thickness; while man attains but one single point, she embraces all, and penetrates into every part of a solid mass. By the power of art, and length of time, our statuaries form a figure which externally resembles the object proposed; each point of this surface requires a thousand combinations. Their genius travels over as many lines as there are lineaments in the figure, and the least false step would deform it. This piece of marble, so perfectly executed that it seems to breathe, is, therefore, only a multitude of points to which the artist arrives by labour and time; for human genius being unable to seize more than one dimension at a time, and our senses reaching no further than surfaces, we cannot penetrate the substance; while, Nature, on the contrary, designs and enters into the depth of things; she produces forms almost instantaneously; she at once expands them in all their dimensions; as soon as her movements reach the surface, the penetrating powers with which she is animated, operate internally. The smallest atom, when she chooses to make use of it, is obliged to obey her will. Her actions, therefore, extend over all; she travels above, below, to the right and left, and consequently, she not only encompasses the surface, but every particle of the mass. What difference there consequently is in the result? What comparison can be made between a statue and an organised body? But also what inequality