principles: the other in the mere feeling of the unity of the representation.[6] To imagination, to intellect and to spirit (_Geist_) we must add taste, the link between imagination and intellect.[7] Art may therefore represent natural ugliness: artistic beauty "is not a beautiful _thing_ but a beautiful representation of a thing": although the representation of ugliness has limits varying with the individual arts (a reminiscence of Lessing and Winckelmann), and an absolute limit at the disgusting and nauseating, which kill representation itself.[8] In natural things, too, there is adherent beauty which cannot be judged by the æsthetic judgement alone but demands a concept. Nature thus appears as a work of art, though superhuman art: "the teleological judgement is the basis and condition of the æsthetic." When we say "this is a beautiful woman," we merely mean that "nature beautifully represents in the form of this woman her purpose in the construction of the female body": it is necessary therefore, besides noting simple form, to aim at a concept, "so that the object may be apprehended through an æsthetic judgement logically conditioned."[9] By this means is formed the ideal of beauty in the human face, the expression of moral life.[10] Kant admits that there may also be artistic productions without a concept, comparable with the free beauties of nature, flowers and some birds (parrot, humming-bird, bird of paradise, etc.): ornamental drawings, cornice-mouldings, musical fantasies without words, represent nothing, no object reducible to a determined concept, and must be reckoned among free beauties.[11] But does not this necessitate their exclusion from true and proper art, from the operation of genius in which fancy and intellect must both, according to Kant, have a place? [Sidenote: _Imagination in Kant's system._] This is Baumgartenism transposed into a higher key, more concentrated, more elaborated, more suggestive, until from moment to moment it seems about to burst into a wholly different conception of art. But it is still Baumgartenism, from whose intellectualistic bonds it never escapes. Nor was escape possible. A profound concept of imagination was entirely lacking to Kant's system and his philosophy of the spirit. Glancing over the table of faculties of the spirit which precedes his _Critique of Judgment,_ we see that Kant co-ordinates with it the cognitive faculty, the feeling of pleasure and pain, and the appetitive faculty; to the first corresponds intellect, to the second, judgement (teleological and æsthetic), to the third, reason;[12] he finds no place for imagination amongst powers of the spirit but places it among the facts of sensation. He knows a reproductive imagination and an associative, but he knows nothing of a genuinely productive imagination, imagination in the proper sense.[13] We have seen that, in his doctrine, genius is the co-operation of several faculties.