Purposiveness may be represented in an object given in experience on a merely subjective ground, as the harmony of its form,--in the _apprehension_ (_apprehensio_) of it prior to any concept,--with the cognitive faculties, in order to unite the intuition with concepts for a cognition generally. Or it may be represented objectively as the harmony of the form of the object with the possibility of the thing itself, according to a concept of it which precedes and contains the ground of this form. We have seen that the representation of purposiveness of the first kind rests on the immediate pleasure in the form of the object in the mere reflection upon it. But the representation of purposiveness of the second kind, since it refers the form of the Object, not to the cognitive faculties of the subject in the apprehension of it, but to a definite cognition of the object under a given concept, has nothing to do with a feeling of pleasure in things, but only with the Understanding in its judgement upon them. If the concept of an object is given, the business of the Judgement in the use of the concept for cognition consists in _presentation_ (_exhibitio_), _i.e._ in setting a corresponding intuition beside the concept. This may take place either through our own Imagination, as in Art when we realise a preconceived concept of an object which is a purpose of ours; or through Nature in its Technic (as in organised bodies) when we supply to it our concept of its purpose in order to judge of its products. In the latter case it is not merely the _purposiveness_ of nature in the form of the thing that is represented, but this its product is represented as a _natural purpose_.--Although our concept of a subjective purposiveness of nature in its forms according to empirical laws is not a concept of the Object, but only a principle of the Judgement for furnishing itself with concepts amid the immense variety of nature (and thus being able to ascertain its own position), yet we thus ascribe to nature as it were a regard to our cognitive faculty according to the analogy of purpose. Thus we can regard _natural beauty_ as the _presentation_ of the concept of the formal (merely subjective) purposiveness, and _natural purposes_ as the presentation of the concept of a real (objective) purposiveness. The former of these we judge of by Taste (aesthetically, by the medium of the feeling of pleasure), the latter by Understanding and Reason (logically, according to concepts). On this is based the division of the Critique of Judgement into the Critique of _aesthetical_ and of _teleological_ Judgement. By the first we understand the faculty of judging of the formal purposiveness (otherwise called subjective) of Nature by means of the feeling of pleasure or pain; by the second the faculty of judging its real (objective) purposiveness by means of Understanding and Reason.