Without dwelling further on the second, he proceeds to a lengthy discussion of the natural qualities which should be found in an object of sensible beauty: "Firstly, comparative smallness; secondly, smooth surface; thirdly, variety in disposition of the parts; fourthly, that it have no angularity, all lines fusing one in another; fifthly, a structure of great delicacy betraying no signs of violence; sixthly, vivid colouring without glare or harshness; seventhly, if it have any glaring colour, let it be different from the background." These are the properties of beauty working in harmony with nature and least liable to suffer from caprice and differences of taste.[11] [Sidenote: _H. Home._] These books of Hogarth and Burke are generally described as classical; if so, they belong to the type of classic that fails to convince. To a somewhat higher type belongs the _Elements of Criticism_ (1761) of Henry Home, Lord Kaimes, who seeks "the true principles of the fine arts" with the object of converting criticism into "a rational science," and to this end chooses "the upward path of facts and experiments." Home confines himself to feelings derived from objects of sight and hearing, which, in so far as unaccompanied by desires, are more truly described as simple feelings (emotions, not passions). These occupy a middle position between mere sense-impressions and intellectual or moral ideas, and are therefore akin to both; and it is from these that the pleasures of beauty are derived. Beauty is divided into beauty of relation and intrinsic beauty.[12] Of the latter, Home's only account is that regularity, simplicity, uniformity, proportion, order and other pleasing qualities have been "so disposed by the Author of nature in order to increase our happiness here on earth which, as is clearly shown in numberless instances, is not foreign to his care." This notion is confirmed when he reflects that "our taste for such details is not accidental, but uniform and universal, being a very part of our nature"; adding that "regularity, uniformity, order and simplicity help to facilitate perception and make it possible for us to form clearer conception of objects than it would be possible to gain by the most earnest attention were such qualities not present." Proportions are often combined with a view to utility, "as we see that the best proportioned amongst animals are also the strongest; but there are also many examples in which this conjunction does not hold good"; wherefore the wisest plan "is to rest content with the final cause just mentioned: that of the increase of our happiness intended by the Author of nature."[13] In his _Essay on Taste_ (1758) and on _Genius_ (1774) Alexander Gérard employs by turns, according to the various forms of art, the principles of association, of direct pleasure, of expression, and even of moral sense: the same kind of explanation reappears in another _Essay on Taste_ by Alison (1792).