is fashioned for the needs of human action, is an intellect which proceeds at the same time by intention and by calculation, by adapting means to ends and by thinking out mechanisms of more and more geometrical form. Whether nature be conceived as an immense machine regulated by mathematical laws, or as the realization of a plan, these two ways of regarding it are only the consummation of two tendencies of mind which are complementary to each other, and which have their origin in the same vital necessities. For that reason, radical finalism is very near radical mechanism on many points. Both doctrines are reluctant to see in the course of things generally, or even simply in the development of life, an unforeseeable creation of form. In considering reality, mechanism regards only the aspect of similarity or repetition. It is therefore dominated by this law, that in nature there is only _like_ reproducing _like_. The more the geometry in mechanism is emphasized, the less can mechanism admit that anything is ever created, even pure form. In so far as we are geometricians, then, we reject the unforeseeable. We might accept it, assuredly, in so far as we are artists, for art lives on creation and implies a latent belief in the spontaneity of nature. But disinterested art is a luxury, like pure speculation. Long before being artists, we are artisans; and all fabrication, however rudimentary, lives on likeness and repetition, like the natural geometry which serves as its fulcrum. Fabrication works on models which it sets out to reproduce; and even when it invents, it proceeds, or imagines itself to proceed, by a new arrangement of elements already known. Its principle is that "we must have like to produce like." In short, the strict application of the principle of finality, like that of the principle of mechanical causality, leads to the conclusion that "all is given." Both principles say the same thing in their respective languages, because they respond to the same need.