a scientific method. It reasons from known effects up to the supposed causes of them. Now this generally assumes the form, no matter under what guise, of the famous "design argument." Dr. Paley stated it many years ago, and it has not been much improved since his day. It is generally stated in this way: "The world exhibits marks of design; that design must have had a designer; that designer must be a person; that person is God." A number of illustrations are then brought forward to support this contention. For instance, it is argued that when a man observes a watch or a telescope, or any article that has been made to answer a certain purpose, and the mechanism of which is so adjusted as to effect the desired object, it is said that from the marks of design or contrivance observed in the mechanism, he infers that these articles are the products of some human designer. And so it is said that when we look around the world and see how beautifully things are designed, the eye to see, the ear to hear; how admirably things are adapted the one to the other, are we not justified by similar reasoning in concluding that these are the productions of an almighty and infinite designer? Briefly stated that is the argument. Now let me examine it. And in the first place it will be observed that it is assumed that there is a great resemblance between the works of Nature and the artistic works of man. But is this really a fact? Man simply moulds natural objects into certain forms; they are then called artificial objects. We know that man designs watches and telescopes; it is a fact within our experience. But there is not the slightest similarity between the process of manufacture and the natural process of growth; so that when we see various objects of Nature, we do hot conclude, however harmoniously the parts may work together, that they were designed. We know a manufactured article from a natural object, we could not mistake the one for the other. But let us suppose that we did not know that men made watches; it is very probable that we should then think that a watch was not made at all, but that it was a natural object. Take an illustration. Suppose that I were to lay a watch upon the earth somewhere in South Africa; suppose that in a short time a savage wandering near the spot where the watch was deposited should observe it, should take it into his hand and handle it—I am assuming that the savage had never seen a watch before, and was not aware that men designed and constructed watches—think you that he would for a moment notice that it exhibited marks of design? No, I think he would be more likely to come to the opinion that it was alive. The design argument therefore is purely an argument drawn from experience. But what experience has man of god? Speaking for myself I can say that I have absolutely no experience of him at all, and I am not acquainted with anybody who has. Man does not know god as a designer or constructor; he neither knows of his capabilities, nor his existence; and he therefore cannot reasonably say that god is the designer of anything.

The human eye is very often adduced by the Theist as an illustration of design. Now nobody can deny that the eye is a delicate, complicated, and beautiful structure; nobody could fail to see and acknowledge with feelings of admiration the wonderful adjustment and harmonious working of its various parts; and all would readily acknowledge how admirably it is fitted to perform its functions. But yet to acknowledge all this is not to admit that the eye is designed. To point to the combinations and conditions which produce this result, without showing that these conditions were designed, is to beg the whole question. And it must be distinctly understood that the onus probandi as the lawyers say, lies with the affirmer of the design argument and not with him who does not see evidence in it sufficient to command belief. To show that a thing is capable of effecting a certain result does not prove that it was designed for that purpose.

For example. I hold this glass