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