As regards the division of the moments of the aesthetical judging of objects in reference to the feeling of the sublime, the Analytic can proceed according to the same principle as was adapted in the analysis of judgements of taste. For as an act of the aesthetical reflective Judgement, the satisfaction in the Sublime must be represented just as in the case of the Beautiful,--according to _quantity_ as universally valid, according to _quality_ as devoid of _interest_, according to _relation_ as subjective purposiveness, and according to _modality_ as necessary. And so the method here will not diverge from that of the preceding section; unless, indeed, we count it a difference that in the case where the aesthetical Judgement is concerned with the form of the Object we began with the investigation of its quality, but here, in view of the formlessness which may belong to what we call sublime, we shall begin with quantity, as the first moment of the aesthetical judgement as to the sublime. The reason for this may be seen from the preceding paragraph. But the analysis of the Sublime involves a division not needed in the case of the Beautiful, viz. a division into the _mathematically_ and the _dynamically sublime_. For the feeling of the Sublime brings with it as its characteristic feature a _movement_ of the mind bound up with the judging of the object, while in the case of the Beautiful taste presupposes and maintains the mind in _restful_ contemplation. Now this movement ought to be judged as subjectively purposive (because the sublime pleases us), and thus it is referred through the Imagination either to the _faculty of cognition_ or of _desire_. In either reference the purposiveness of the given representation ought to be judged only in respect of this _faculty_ (without purpose or interest); but in the first case it is ascribed to the Object as a _mathematical_ determination of the Imagination, in the second as _dynamical_. And hence we have this twofold way of representing the sublime. A.--OF THE MATHEMATICALLY SUBLIME § 25. _Explanation of the term “sublime”_