 In the Essays on the Law of Nature, for example, Locke claims that, based on sensory experience, we can assert the extra-mental existence of perceptible objects and all their perceptible qualities. All such qualities can be explained by reference to matter in motion. What is also clear to the senses, Locke argues, is that this world of moving objects exhibits a nomological regularity, or as Locke puts it, a “wonderful art and regularity” (Locke 1663–64, 103). Such regularity and beauty leads the contemplative mind to consider how such a world could have come about. Such contemplation would lead any rational being to the conclusion that the world cannot be the result of chance, and must therefore be the product of a creative will. Note that Locke is here trying to demonstrate for us just how sensation and reason work together. The mind moves from ideas of sensation to what Locke considers logical conclusions regarding the creative force behind the world we experience. But, our understanding of natural law is not founded solely in sensory experience. Through reflection, which is an introspective kind of perceptual experience for Locke, humans can gain ideas of our own nature and faculties that serve to complete our understanding both of God and of God’s creative will. This reasoning goes as follows—the creative being, which sensation indicates must exist, cannot be less perfect than human will, nor can it be human, because our ideas of reflection tell us that humans are not, and cannot be, self-causing. Reason must conclude, then, that the world is created by a divine will—a superior power, which can bring us into existence, maintain us, or take us away, give us great joy or render us in great pain. Locke concludes as follows: