Hardly any one will say that a man must have taste in order that he should find more satisfaction in a circle than in a scrawled outline, in an equilateral and equiangular quadrilateral than in one which is oblique, irregular, and as it were deformed, for this belongs to the ordinary Understanding and is not Taste at all. Where, _e.g._ our design is to judge of the size of an area, or to make intelligible the relation of the parts of it, when divided, to one another and to the whole, then regular figures and those of the simplest kind are needed, and the satisfaction does not rest immediately on the aspect of the figure, but on its availability for all kinds of possible designs. A room whose walls form oblique angles, or a parterre of this kind, even every violation of symmetry in the figure of animals (_e.g._ being one-eyed), of buildings, or of flower beds, displeases, because it contradicts the purpose of the thing, not only practically in respect of a definite use of it, but also when we pass judgement on it as regards any possible design. This is not the case in the judgement of taste, which when pure combines satisfaction or dissatisfaction,--without any reference to its use or to a purpose,--with the mere _consideration_ of the object. The regularity which leads to the concept of an object is indeed the indispensable condition (_conditio sine qua non_) for grasping the object in a single representation and determining the manifold in its form. This determination is a purpose in respect of cognition, and in reference to this it is always bound up with satisfaction (which accompanies the execution of every, even problematical, design). There is here, however, merely the approval of the solution satisfying a problem, and not a free and indefinite purposive entertainment of the mental powers with what we call beautiful, where the Understanding is at the service of Imagination and not _vice versa_. In a thing that is only possible by means of design,--a building, or even an animal,--the regularity consisting in symmetry must express the unity of the intuition that accompanies the concept of purpose, and this regularity belongs to cognition. But where only a free play of the representative powers (under the condition, however, that the Understanding is to suffer no shock thereby) is to be kept up, in pleasure gardens, room decorations, all kinds of tasteful furniture, etc., regularity that shows constraint is avoided as much as possible. Thus in the English taste in gardens, or in bizarre taste in furniture, the freedom of the Imagination is pushed almost near to the grotesque, and in this separation from every constraint of rule we have the case, where taste can display its greatest perfection in the enterprises of the Imagination.