Of all the objects of the external senses, an object of sight is the most complex. In the very simplest, colour is perceived, figure, and length breadth and thickness. A tree is composed of a trunk, branches, and leaves. It has colour, figure, size, and sometimes motion. By means of each of these particulars, separately considered, it appears beautiful: how much more so, when they enter all into one complex perception? The beauty of the human figure is extraordinary, being a composition of numberless beauties arising from the parts and qualities of the object, various colours, various motions, figure, size, _&c._; all uniting in one complex perception, and striking the eye with combined force. Hence it is, that beauty, a quality so remarkable in visible objects, lends its name to express every thing that is eminently agreeable. Thus, by a figure of speech, we say a beautiful sound, a beautiful thought or expression, a beautiful theorem, a beautiful event, a beautiful discovery in art or science. But as figurative expression is not our present theme, this chapter is confined to beauty in its genuine signification. It is natural to suppose, that a perception so various as that of beauty, comprehending sometimes many particulars, sometimes few, should occasion emotions equally various. And yet all the various emotions of beauty maintain one general character of sweetness and gaiety. Considering attentively the beauty of visible objects, we discover two kinds. One may be termed _intrinsic_ beauty, because it is discovered in a single object viewed apart without relation to any other object. The examples above given, are of that kind. The other may be termed _relative_ beauty, being founded on the relation of objects. The former is a perception of sense merely; for to perceive the beauty of a spreading oak or of a flowing river, no more is required but singly an act of vision. The latter is accompanied with an act of understanding and reflection; for of a fine instrument or engine, we perceive not the relative beauty, until we be made acquainted with its use and destination. In a word, intrinsic beauty is ultimate: relative beauty is that of means relating to some good end or purpose. These different beauties agree in one capital circumstance, that both are equally perceived as spread upon the object. This will be readily admitted with respect to intrinsic beauty; but is not so obvious with respect to the other. The utility of the plough, for example, may make it an object of admiration or of desire; but why should utility make it appear beautiful? A principle mentioned above[51], will explain this doubt. The beauty of the effect, by an easy transition of ideas, is transferred to the cause, and is perceived as one of the qualities of the cause. Thus a subject void of intrinsic beauty, appears beautiful from its utility. An old Gothic tower that has no beauty in itself, appears beautiful, considered as proper to defend against an enemy.