A multitude of objects crowding into the mind at once, disturb the attention, and pass without making any impression, or any lasting impression. In a group, no single object makes the figure it would do apart, when it occupies the whole attention[52]. For the same reason, even a single object, when it divides the attention by the multiplicity of its parts, equals not, in strength of impression, a more simple object comprehended in a single view. Parts extremely complex must be considered in portions successively; and a number of impressions in succession, which cannot unite because not simultaneous, never touch the mind like one entire impression made as it were at one stroke. This justifies simplicity in works of art, as opposed to complicated circumstances and crowded ornaments. There is an additional reason for simplicity, in works that make an impression of dignity or elevation. The mind attached to beauties of a high rank, cannot descend to inferior beauties. And yet, notwithstanding these reasons, we find profuse decoration prevailing in works of art. But this is no argument against simplicity, For authors and architects who cannot reach the higher beauties, endeavour to supply their want of genius by dealing in those that are inferior. In all ages, the best writers and artists have been governed by a taste for simplicity. These things premised, I proceed to examine the beauty of figure, as arising from the above-mentioned particulars, _viz._ regularity, uniformity, proportion, order, and simplicity. To exhaust this subject, would of itself require a large volume. I limit myself to a few cursory remarks, as matter for future disquisition. To inquire why an object, by means of the particulars mentioned, appears beautiful, would I am afraid be a vain attempt. It seems the most probable opinion, that the nature of man was originally framed with a relish for them, in order to answer wise and good purposes. The final causes have not hitherto been ascertained, though they are not probably beyond our reach. One thing is clear, that regularity, uniformity, order, and simplicity, contribute each of them to readiness of apprehension; and enable us to form more distinct images of objects, than can be done with the utmost attention where these particulars are not found. This final cause is, I acknowledge, too slight, to account satisfactorily for a taste that makes a figure so illustrious in the nature of man. That this branch of our constitution hath a purpose still more important, we have great reason to believe. With respect to proportion, I am still less successful. In several instances, accurate proportion is connected with utility. This in particular is the case of animals; for those that are the best proportioned, are the strongest and most active. But instances are still more numerous, where the proportions we relish the most, have no connection, so far as we see, with utility. Writers on architecture