The Criticism of the Judgment-faculty is Kant's next step towards providing a completer philosophy. Ostensibly it owes its origin to the need of supplementing the treatment of Understanding and Reason by a discussion of Judgment, and of considering our emotional as well as our cognitive and volitional appreciations. What it really does is to minimise still further the gulf left between the intellect and nature--between the natural and the spiritual world. The intellect, said the first criticism, makes nature: it makes possible the general outlines of our conception of the world around us as a causally-connected system, in which a permanent being undergoes perpetual alteration, and manifests phenomena subject to mathematical conditions. Intellect, in short, has staked out the world which is the object of the practical man, and of his adviser the scientist. But there is another world--the world of beauty and sublimity--the world which art imitates and realises. The interpretation Kant gives to the aesthetic world is as follows. The fact of beauty is a witness to the presence in the mere copiousness of sensible existence of a sub-conscious symmetry or spirit of harmony which realises without compulsion and as if by free grace all the proportion and coherence which intellect requires. Nature itself has something which does the work that intellect was charged with, and does it with a subtle secret hand which does not suggest the artificer. The fact of sublimity, on the other hand, indicates the presence of an even greater spirit. For beauty may seem--from what has been said--to be only an unbought accrement to the commodities of life--facilitating the task of the practical intellect. But the sublime in nature speaks of something which is greater than human utilities and practical conveniences. It reveals a something which is in sympathy with our essential and higher self, and therefore stirs within us the keen rapture of the traveller who sees from afar his home in 'rocky Ithaca,' but a something which is cold to daily wants and vulgar satisfactions, and therefore strikes upon us a gelid awe.