sensation means that its uniformity is troubled and interrupted by no foreign sensation, and it belongs merely to the form; because here we can abstract from the quality of that mode of sensation (abstract from the colours and tone, if any, which it represents).

Hence all simple colours, so far as they are pure, are regarded as beautiful; composite colours have not this advantage, because, as they are not simple, we have no standard for judging whether they should be called pure or not.

But as regards the beauty attributed to the object on account of its form, to suppose it to be capable of augmentation through the charm of the object is a common error, and one very prejudicial to genuine, uncorrupted, well-founded taste. We can doubtless add these charms to beauty, in order to