If we consider the perfection of the works of nature, which can never be sufficiently admired, and which even in the lowest and smallest organisms, for example, in the fertilising parts of plants or in the internal construction of insects, is carried out with as infinite care and unwearied labour as if each work of nature had been its only one, upon which it was therefore able to expend all its art and power; if we yet find this repeated an infinite number of times in each one of innumerable individuals of every kind, and not less carefully worked out in that one whose dwelling‐place is the most lonely, neglected spot, to which, till then, no eye had penetrated; if we now follow the combination of the parts of every organism as far as we can, and yet never come upon one part which is quite simple, and therefore ultimate, not to speak of one which is inorganic; if, finally, we lose ourselves in calculating the design of all those parts of the organism for the maintenance of the whole by virtue of which every living thing is complete in and for itself; if we consider at the same time that each of these masterpieces, itself of short duration, has already been produced anew an innumerable number of times, and yet every example of a species, every insect, every flower, every leaf, still appears just as carefully perfected as was the first of its kind; thus that nature by no means wearies and begins to bungle, but, with equally patient master‐hand, perfects the last like the first: then we become conscious, first of all, that all human art is completely different, not merely in degree, but in kind, from the works of nature; and, next, that the working force, the _natura naturans_, in each of its innumerable works, in the least as in the greatest, in the last as in the first, _is immediately present whole and undivided_, from which it follows that, as such and in itself, it knows nothing of space and time. If we further reflect that the production of these hyperboles of all works of art costs nature absolutely nothing, so that, with inconceivable prodigality, she creates millions of organisms which never attain to maturity, and without sparing exposes every living thing to a thousand accidents, yet, on the other hand, if favoured by chance or directed by human purpose, readily affords millions of examples of a species of which hitherto there was only one, so that millions cost her no more than one; this also leads us to see that the multiplicity of things has its root in the nature of the knowledge of the subject, but is foreign to the thing in itself, _i.e._, to the inner primary force which shows itself in things; that consequently space and time, upon which the possibility of all multiplicity depends, are mere forms of our perception; nay, that even that whole inconceivable ingenuity of structure associated with the reckless prodigality of the works upon which it has been expended ultimately springs simply from the