Scientific Difficulties--Charge of proving too much--Anthropomorphism and Dualism--Physical and Moral Antithesis--Was Paley to blame for introducing these Questions?--Answer to the charge of proving too much--On how many points need Analogy rest?--Examples. Charge of proving too little--Design assumes Designer as a Foregone Conclusion--Process observed is test of Designer in Art, but fails in Nature--Criticism on these Objections. Baden Powell compared with Paley--Wide Views and Inductions--Argument analysed into _Gradations_ of Proof, Order, and Intelligence--Means, Ends, and Foresight--Physical and Moral Causation--Argument analysed into various _Lines_ of Proof--Their Separate and Consilient Force. Value of Powell's views on Causation--Objections against some peculiarities of his language--Natural Theology and Natural Religion distinguished--Professor Newman--Use of Words on subject of Design. Statement of the Constructive Method now to be employed--Corollary on Efficient and Final Causes. _Additional Notes and Illustrations_:-- A.--On the abstract reasonings involved in Natural Theology. B.--On the phrase "Design implies a Designer." C.--Hume on the analogies of Art and Nature. D.--The Pantheistic consequences charged upon Physical Speculation. E.--The extent and divisions of the Science of Natural Theology. F.--On Teleology. CHAPTER II. PHILOSOPHY OF DESIGN. The argument from Design in Nature has been made familiar to most readers in Natural Theology by Paley's well-known book. It is probable that no argument has ever been more praised, and at the same time more strongly controverted. Our business lies, of course, with the controversy; and we must say a few words on our present mode of dealing with it. Nothing could be more useless than to repeat illustrative examples of Design already thrice told by an endless variety of treatises. Of so wide a subject everything may be quoted as an illustration, from a pebble to a world, if only the principle illustrated--the pivot on which the argument turns--be understood and admitted. In modern times, this turning-point is precisely the centre of the dispute. Untrained minds misapprehend the meaning of the word Design, and are further still from apprehending the real force of argument from analogy. And when these subjects come to be discussed by skilled writers, various questions are always raised which generally issue in irreconcilable differences of opinion. Our plan here will be to take the argument in its best-known shape, and examine it from the points of view occupied by several classes of objectors, beginning, as is reasonable, with the most popular difficulties and misapprehensions. It does not seem necessary to load the page with references to controversialists of the ordinary sort, particularly as we endeavour to look at the whole question through their eyes.