In truth, it is not images of objects, but schemata, which lie at the foundation of our pure sensuous conceptions. No image could ever be adequate to our conception of a triangle in general. For the generalness of the conception it never could attain to, as this includes under itself all triangles, whether right-angled, acute-angled, etc., whilst the image would always be limited to a single part of this sphere. The schema of the triangle can exist nowhere else than in thought, and it indicates a rule of the synthesis of the imagination in regard to pure figures in space. Still less is an object of experience, or an image of the object, ever to the empirical conception. On the contrary, the conception always relates immediately to the schema of the imagination, as a rule for the determination of our intuition, in conformity with a certain general conception. The conception of a dog indicates a rule, according to which my imagination can delineate the figure of a four-footed animal in general, without being limited to any particular individual form which experience presents to me, or indeed to any possible image that I can represent to myself in concreto. This schematism of our understanding in regard to phenomena and their mere form, is an art, hidden in the depths of the human soul, whose true modes of action we shall only with difficulty discover and unveil. Thus much only can we say: “The image is a product of the empirical faculty of the productive imagination—the schema of sensuous conceptions (of figures in space, for example) is a product, and, as it were, a monogram of the pure imagination à priori, whereby and according to which images first become possible, which, however, can be connected with the conception only mediately by means of the schema which they indicate, and are in themselves never fully adequate to it.” On the other hand, the schema of a pure conception of the understanding is something that cannot be reduced into any image—it is nothing else than the pure synthesis expressed by the category, conformably, to a rule of unity according to conceptions. It is a transcendental product of the imagination, a product which concerns the determination of the internal sense, according to conditions of its form (time) in respect to all representations, in so far as these representations must be conjoined à priori in one conception, conformably to the unity of apperception. Without entering upon a dry and tedious analysis of the essential requisites of transcendental schemata of the pure conceptions of the understanding, we shall rather proceed at once to give an explanation of them according to the order of the categories, and in connection therewith.