clear that any similar effect, which shall then be recognized through
it, from any number of differing and distinct objects, can only arise
from some mutual relation between a _something_ in the objects
and in the Principle supposed, as their joint result and proper
product.

And, since it would appear that we cannot avoid the admission of
some such Principle, having a reciprocal relation to certain outward
objects, to account for these kindred emotions from so many distinct
and heterogeneous sources, it remains only that we give it a name;
which has already been anticipated in the term Harmony.

The next question here is, In what consists this _peculiar relation?_ We
have seen that it cannot be in any thing that is essential to any
condition of mere being or existence; it must therefore consist in some
_undiscoverable_ condition indifferently applicable to the Physical,
Intellectual, and Moral, yet only applicable in each to certain kinds.

And this is all that we do or _can_ know of it. But of this we
may be as certain as that we live and breathe.

It is true that, for particular purposes, we may analyze certain
combinations of sounds and colors and forms, so as to ascertain their
relative quantities or collocation; and these facts (of which we shall
hereafter have occasion to speak) may be of importance both in Art and
Science. Still, when thus obtained, they will be no more than mere
facts, on which we can predicate nothing but that, when they are
imitated,--that is, when similar combinations of quantities, &c., are
repeated in a work of art,--they will produce the same effect. But
_why_ they should is a mystery which the reflective faculties do