resemblances and differences; it also has its unity. It aims at the best proportion of variety and unity. This is independent of the varying natures of individual persons, and therefore the judgment of beauty can claim to be universally valid. Beautiful objects, then, are "purposive to the understanding," inasmuch as their form stimulates in the most harmonious degree the two faculties of intelligence, and in art we find proof that there is a principle of general intelligibility, which may guide the work of the scientist. The purpose of the scientist is quite different from that of the artist, but if he is to reduce his facts to order and intelligibility he must be guided by a principle which is seen in its pure form in the artist. In the second place, an understanding of the nature of art has significance for moral theory, because the judgment of beauty is disinterested, and shows that pleasure may be independent of desire. In æsthetic pleasure we are not merely determined by our inclinations, for art is of all human activities free and creative. We enjoy art not because it serves any of our individual desires and purposes, it is enjoyed by something in us that is universal. Art, then, contradicts the position which Kant assumes in the second _Critique_, that we cannot follow pleasure without being slaves of our phenomenal nature. It is a disinterested enjoyment, and is witness to the possibility of disinterested pleasure in the good. Further, Kant held that in one kind of æsthetic enjoyment, appreciation of the sublime, the contrast between our weakness and the vast extent and overwhelming powers of nature, calls forth in us a conviction accompanied by pleasure of the yet greater might of the moral law within us. Art therefore may become the symbol of morality, and the third _Critique_ does much to soften the rigour of the teaching of the second. In the last part of the _Critique of Judgment_ Kant applies his doctrine of regulative principles to the understanding of nature. The faculty of judgment, as we saw, is concerned with the attempt to give unity to the detail of the natural world. In this work it has two regulative principles, mechanism and teleology. Reality cannot be formed according to both these principles; for mechanism assumes that reality can be regarded as a pattern or complex of recurring or interchangeable parts whose changes are necessitated, teleology that the world cannot be explained without supposing purpose to be an operating agency in change. Mechanism seeks to explain things as the necessary result of their original condition, teleology in the light of their highest development. The two principles have therefore been held to be inconsistent. The scientist, jealous for the validity of his discovery of mechanism, combats the very notion of purposive agency. The theologian thinks that to admit mechanism anywhere is to give up his whole position.