hout chancing anything of its outside, the savage instincts of the
tiger, the judgment of the eyesight would remain absolutely the same, and
the tiger would be for it the chef-d'oeuvre of the Creator.

The destiny of man as intelligence contributes, then, to the beauty of
his structure only so far as the form that represents this destiny, the
expression that makes it felt, satisfies at the same time the conditions
which are prescribed in the world of sense to the manifestations of the
beautiful; which signifies that beauty ought always to remain a pure
effect of physical nature, and that the rational conception which had
determined the technical utility of the human structure cannot confer
beauty, but simply be compatible with beauty.

It could be objected, it is true, that in general all which is manifested
by a sensuous representation is produced by the forces of nature, and
that consequently this character cannot be exclusively an indication of
the beautiful. Certainly, and without doubt, all technical creations are
the work of nature; but it is not by the fact of nature that they are
technical, or at least that they are so judged to be. They are technical
only through the understanding, and thus their technical perfection has
already its existence in the understanding, before passing into the world
of sense, and becoming a sensible phenomenon. Beauty, on the contrary,
has the peculiarity, that the sensuous world is not only its theatre, but
the first source from whence it derives its birth, and that it owes to
nature not only its expression, but also its creation. Beauty is
absolutely but a property of the world of sense; and the artist, who has
the beautiful in view, would not attain to it but inasmuch as he
entertains this illusion, that his work is the work of nature.

In order to appreciate the technical perfection of the human body, we
must bear in mind the ends to which it is appropriated; this being quite
unnecessary for the appreciation of its beauty. Here the senses require
no aid, and of themselves judge with full competence; however they would
not be competent judges of the beautiful, if the world of sense (the
senses have no other object) did not contain all the conditions of beauty
and was therefore competent to produce it. The beauty of man, it is
true, has for mediate reason the idea of his humanity, because all his
physical nature is founded on this idea; but the senses, we know, hold to
immediate p