THE CREATOR AS AN ARCHITECT. 65 
various modifications in the structure of each class, he pro- 
duced the individual orders. By further variation in the 
order, he created natural families. As the Creator further 
varied the peculiarities of structure of individual parts in 
each family, genera arose. In further meditation on his 
plan of creation, he entered so much into detail that in- 
dividual species came into existence, which, consequently, 
are embodied creative thoughts of the most special kind. 
It is only to be regretted that the Creator expressed these 
most special and most deeply considered “creative thoughts” 
in so very indistinct and loose a manner, and that he im- 
printed so vague a stamp upon them, and permitted them to 
vary so freely that not one naturalist is able to distinguish 
the “good” from the “bad species,” or a genuine species 
from varieties, races, ete. (Gen. Morph. ii. 373.) 
We see, then, according to Agassiz’s conception, that the 
Creator, in producing organic forms, goes to work exactly 
as a human architect, who has taken upon himself the task 
of devising and producing as many different buildings as 
possible, for the most manifold purposes, in the most dif- 
ferent styles, in various degrees of simplicity, splendour, 
greatness, and perfection. This architect would perhaps at 
first choose four different styles for all these buildings, say 
the Gothic, Byzantine, Chinese, and Rococo styles. In each 
of these styles he would build a number of churches, palaces, 
garrisons, prisons, and dwelling-houses. Each of these dif- 
ferent buildings he would execute in ruder and more perfect, 
in greater and smaller, in simpler and grander fashion, ete. 
However, the human architect would perhaps, in this 
respect, be better off than the divine Creator, as he would 
have perfect liberty in the number of graduated subordinate 
VOL, I. F 
