This illustration of the relation of Ideas and Sensations may enable us to estimate a doctrine which has been put forwards at various times. In a certain school of speculators there has existed a disposition to derive all our Ideas from our Sensations, the term _Idea_, being, in this school, used in its wider sense, so as to include all modifications and limitations of our Fundamental Ideas. The doctrines of this school have been summarily expressed by saying that 'Every Idea is a transformed Sensation.' Now, even supposing this assertion to be exactly true, we easily see, from what has been said, how little we are likely to answer the ends of philosophy by putting forward such a maxim as one of primary importance. For we might say, in like manner, that every statue is but a transformed block of marble, or every edifice but a collection of transformed stones. But what would these assertions avail us, if our object were to trace the rules of art by which beautiful statues were formed, or great works of architecture erected? The question naturally occurs, What is the nature, the principle, the law of this Transformation? In what faculty resides the transforming power? What train of ideas of beauty, and symmetry, and stability, in the mind of the statuary or the architect, has produced those great works which {40} mankind look upon as among their most valuable possessions;--the Apollo of the Belvidere, the Parthenon, the Cathedral of Cologne? When this is what we want to know, how are we helped by learning that the Apollo is of Parian marble, or the Cathedral of basaltic stone? We must know much more than this, in order to acquire any insight into the principles of statuary or of architecture. In like manner, in order that we may make any progress in the philosophy of knowledge, which is our purpose, we must endeavour to learn something further respecting ideas than that they are transformed sensations, even if they were this.