The capital feature in Kant's Criticism of the Judgment is, that in it he gave a representation and a name, if not even an intellectual expression, to the Idea. Such a representation, as an Intuitive Understanding, or an inner adaptation, suggests a universal which is at the same time apprehended as essentially a concrete unity, It is in these aperçus alone that the Kantian philosophy rises to the speculative height. Schiller, and others, have found in the idea of artistic beauty, where thought and sensuous conception have grown together into one, a way of escape from the abstract and separatist understanding. Others have found the same relief in the perception and consciousness of life and of living things, whether that life be natural or intellectual.--The work of Art, as well as the living individual, is, it must be owned, of limited content. But in the postulated harmony of nature (or necessity) and free purpose,--in the final purpose of the world conceived as realised, Kant has put before us the Idea, comprehensive even in its content. Yet what may be called the laziness of thought, when dealing with this supreme Idea, finds a too easy mode of evasion in the 'ought to be': instead of the actual realisation of the ultimate end, it clings hard to the disjunction of the notion from reality. Yet if thought will not _think_ the ideal realised, the senses and the intuition can at any rate _see_ it in the present reality of living organisms and of the beautiful in Art. And consequently Kant's remarks on these objects were well adapted to lead the mind on to grasp and think the concrete Idea. 56.] We are thus led to conceive a different relation between the universal of understanding and the particular of perception, than that on which the theory of the Theoretical and Practical Reason is founded. But while this is so, it is not supplemented by a recognition that the former is the genuine relation and the very truth. Instead of that, the unity (of universal with particular) is accepted only as it exists in finite phenomena, and is adduced only as a fact of experience. Such experience, at first only personal, may come from two sources. It may spring from Genius, the faculty which produces 'aesthetic ideas'; meaning by aesthetic ideas, the picture-thoughts of the free imagination which subserve an idea and suggest thoughts, although their content is not expressed in a notional form, and even admits of no such expression. It may also be due to Taste, the feeling of congruity between the free play of intuition or imagination and the uniformity of understanding.