Volume 182303

The works of William Paley / [William Paley].

  • William Paley
Date:
1823
Catalogue details

Licence: Public Domain Mark

Credit: The works of William Paley / [William Paley]. Source: Wellcome Collection.

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    for the sake of flexure), communicating the action of the spring from the box to the fusee. We then find a series of wheels, the teeth of which catch in, and apply; to each other, conducting the motion from the fusee ta the balance, and from the balance to the pointer ; and: at the same time, by the size and shape of those whe so regulating that motion, as to terminate in causing au index, by anequable and measured progression, to pa: over a given space in a given time. We take notice that the wheels are made of brass in order to keep them: from rust ; the springs of steel, no other metal being: so Blac that over the face of the watch there is placed a glass, a material employed in no other part: of the work, but in the room of which, if there had been: any other than a transparent substance, the hour could: not be seen without opening the case. This mechanism: being observed (it requires indeed an examination off the instrument, and perhaps some previous knowledge: of the subject, to perceive and understand it ; but beings once, as we have said, observed and understood), thes inference, we think, is inevitable, that the watch meee have had a maker; that there must have existed, sit some time, and at some place or other, an artificer or: artificers, who formed it for the purpose which we find! it actually to answer ; who comprehended its construc~ tion, and designed its use. I. Nor would it, apprehend, weaken the conclusion , that we had never seen a watch made; that we hadi never known an. artist gapable of making one; that we were altogether incapable of executing such a plecee of workmanship ourselves, or of understanding in what t manner it was performed ; all this being no more thann what is true of some exquisite remains of ancient art, of some lost arts, and,to the generality of mankind, , of the more curious productions of modern manufac ture. Does one man in a million know how ova!! frames are turned? Ignorance of this kind exalts our? opinion of the unseen and unknown artist’s skill, if/ he be unseen and unknown, but raises no doubt in ourr minds of the existence and agency of such an artist, atsome former time, andin some place or other. Norv ean I perceive that it varies at all the inference, whe-
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