henomena, and for them it is exactly the same as if this
beauty were a simple effect of nature, perfectly independent.

From what we have said, up to the present time, it would appear that the
beautiful can offer absolutely no interest to the understanding, because
its principle belongs solely to the world of sense, and amongst all our
faculties of knowledge it addresses itself only to our senses. And in
fact, the moment that we sever from the idea of the beautiful, as a
foreign element, all that is mixed with the idea of technical perfection,
almost inevitably, in the judgment of beauty, it appears that nothing
remains to it by which it can become the object of an intellectual
pleasure. And nevertheless, it is quite as incontestable that the
beautiful pleases the understanding, as it is beyond doubt that the
beautiful rests upon no property of the object that could not be
discovered but by the understanding.

To solve this apparent contradiction, it must be remembered that the
phenomena can in two different ways pass to the state of objects of the
understanding and express ideas. It is not always necessary that the
understanding draws these ideas from phenomena; it can also put them into
them. In the two cases, the phenomena will be adequate to a rational
conception, with this simple difference, that, in the first case, the
understanding finds it objectively given, and to a certain extent only
receives it from the object because it is necessary that the idea should
be given to explain the nature and often even the possibility of the
object; whilst in the second case, on the contrary, it is the
understanding which of itself interprets, in a manner to make of it the
expression of its idea, that which the phenomenon offers us, without any
connection with this idea, and thus treats by a metaphysical process that
which in reality is purely physical. There, then, in the association of
the idea with the object there is an objective necessity; here, on the
contrary, a subjective necessity at the utmost. It is unnecessary to say
that, in my mind, the first of these two connections ought to be
understood of technical perfection, the second, of the beautiful.

As then in the second case it is a thing quite contingent for the
sensuous object that there should or should not be outside of it an
object which perceives it--an understanding that associates one of its
own ideas with it, consequently, the ensemble of these objective
pr