its nature and on its own merits.[102] In this respect the Critique of the power of judgment, in which he treats of the æsthetic and teleological powers of judgment, is instructive and remarkable. The beautiful objects of nature and art, the rightly adapted products of nature, by connecting which Kant is led to a closer treatment of organic and animated beings, are regarded by him only from the point of view of the reflection which subjectively judges of them. Indeed Kant defines the power of judgment generally as "the power of thinking the particular as contained under the universal;" and he calls the power of judgment _reflective_ "when it has only the particular given to it, and has to find the universal under which it comes." To this end it requires a law, a principle, which it has to impose upon itself; and Kant suggests as this law that of _Teleology_. In the idea of freedom that belongs to the practical reason, the accomplishment of the end is left as a mere "ought," but in the teleological judgment dealing with animated beings, Kant hits on the notion of regarding the living organism in the light that in it the idea, the universal, contains the particulars as well. Thus in its capacity as end, it determines the particular and external, the structure of the limbs, not from without, but from within, and in the sense that the particular conforms to the end _spontaneously_. Yet even in such a judgment, again, we are supposed not to know the objective nature of the thing, but only to be enunciating a subjective mode of reflection. Similarly, Kant understands the _æsthetic_ judgment as neither proceeding from the understanding as such _qua_ the faculty of ideas, nor from sensuous perception as such with its manifold variety, but from the free play of the understanding and of the imagination. It is in this free agreement of the faculties of knowledge, that the thing is related to the subject or person, and to his feeling of pleasure and complacency.