550 LOGIC OF THE MORAL SCIENCES. 



Science, therefore, following one cause to its various effects, 

 while art traces one effect to its multiplied and diversified 

 causes and conditions ; there is need of a set of intermediate 

 scientific truths, derived from the higher generalities of science, 

 and destined to serve as the generalia or first principles of the 

 various arts. The scientific operation of framing these inter 

 mediate principles, M. Comte characterizes as one of those 

 results of philosophy which are reserved for futurity. The 

 only complete example which he points out as actually realized, 

 and which can be held up as a type to he imitated in more 

 important matters, is the general theory of the art of Descrip 

 tive Geometry, as conceived by M. Monge. It is not, however, 

 difficult to understand what the nature of these intermediate 

 principles must generally be. After framing the most compre 

 hensive possible conception of the end to be aimed at, that is, 

 of the effect to be produced, and determining in the same com 

 prehensive manner the set of conditions on which that effect 

 depends ; there remains to be taken, a general survey of the 

 resources which can be commanded for realizing this set of 

 conditions ; and when the result of this survey has been 

 embodied in the fewest and most extensive propositions pos 

 sible, those propositions will express the general relation 

 between the available means and the end, and will constitute 

 the general scientific theory of the art ; from which its prac 

 tical methods will follow as corollaries. 



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6. But though the reasonings which connect the end 

 or purpose of every art with its means, belong to the domain of 

 Science, the definition of the end itself belongs exclusively to 

 Art, and forms its peculiar province. Every art has one first 

 principle, or general major premise, not borrowed from science; 

 that which enunciates the object aimed at, and affirms it to be 

 a desirable object. The builder s art assumes that it is desi 

 rable to have buildings ; architecture (as one of the fine arts), 

 that it is desirable to have them beautiful or imposing. The 

 hygienic and medical arts assume, the one that the preserva 

 tion of health, the other that the cure of disease, are fitting 

 and desirable ends. These are not propositions of science. 



