 Relations of form and function can operate at an extremely abstract level: “A building, whose doors and windows were exact squares, would hurt the eye by that very proportion: as ill adapted to the figure of a human creature, for whose service the fabric was intended” (EPM, 212–13). Those who respond with sentiment are moved by “imaginary” and general consequences, not simply utility for the person passing judgment (EPM, 217–18). Furthermore, formal design itself can convey emotions which influence aesthetic response: “There is no rule in painting or statuary more indispensable than that of balancing the figures, and placing them with the greatest exactness on their proper centre of gravity. A figure, which is not justly balanced, is ugly; because it conveys the disagreeable ideas of fall, harm, and pain” (EPM, 245).