120 THE CREATION OF MATTER 



brilliant sculptures and works of artist hands of all the 

 ages, is lustreless in comparison with the imperial order 

 that shines in them, the imperial potencies stored in 

 them. They have in their form, as revealed by the skill 

 and power of their operations, incomparably more to 

 transport the mind than the choicest gems in the sphere of 

 art. And it is the amount of order concentrated in them, 

 concentrated and differentiated into so great a multitude 

 of varieties, the amount we dare to say of mind that 

 shines in organisations so complex, that pleases mind. 

 It sees its own image in them in supremest manifestation. 

 It beholds the greatest triumphs in its own kind of work. 

 It perceives that there are in them measurings, and 

 adjustments, and settings, and touches of art, that belong 

 to a higher heaven of invention than any to be found in 

 works from the hands of human genius. 



No sane intelligence would dream of the simplest 

 house being built, without eyes, and an understanding, 

 to see and measure. And no house, however large, 

 however many its rooms, chambers, and passages, and 

 however fine its workmanship throughout, can be com- 

 pared with ovules in themselves, or the bodies which 

 they build. And it is no sufficient explanation, it is 

 overwhelmingly insufficient, to say that the work is 

 accomplished by forces in the elements. The scientist 

 may see nothing else with the eye of science. He con- 

 fines himself to the study of the processes which he can 

 explain by physical means. He sometimes refuses to go 

 deeper. But deeper questions cannot be legitimately 

 ignored. Every scientist, as in the case of the ether, 

 is ready to ask any question, however deep, if it can be 

 answered by referring to or postulating physical entities 

 or causes. He only refuses to ask them, if in order to 

 give the answer it becomes necessary to postulate the 



