Here we pass to the consideration of art, for in our judgments of beauty Kant holds that we similarly disregard the relation of the beautiful object to any particular purpose, and seem to be concerned with general purposiveness. The judgment of beauty is, for Kant, the supreme act of the faculty of judgment. It is reflection on an individual for its own sake, without attempting to fit it to our desires or see it as an instance of our concepts or rules. Kant therefore proceeds to examine our judgments of beauty, which show how reflection on individual objects may display general rules, and then proceeds, in the last part of the _Critique_, to discuss the part played by the concept of purposiveness in our understanding of nature. It would seem at first sight that Kant is not interested in art for its own sake, but for the light which it throws upon the nature of our intellectual faculties. Nevertheless he is careful to insist on the distinction between artistic and scientific judgments. The judgment of beauty, he insists, is free, is not determined by a concept. We are not concerned, in such judgments, with asking what an object is. In so far as, in our appreciation of beauty, we bring in such considerations we are wrong. He therefore rules out any theory that beauty is concerned with faithful representation. Beauty consists in the form of an object, and in nothing else. The judgment of beauty, besides being free, is also disinterested. The relation of the beautiful object to our purposes is irrelevant to its beauty. The judgment of beauty cannot, therefore, be determined by rules of any kind. It is always individual and immediate, and the immediate feeling of beauty counts for more than any rules or canons of taste. Kant therefore vindicates art as independent of either science or morality. Yet, once we realise its independence, the nature of art throws light upon both science and morality; for the judgment of beauty, although free and not determined by concepts, claims universal validity. We might put Kant’s point in another way by saying that art is significant, and yet is not significant of anything _in particular_. Its meaning cannot be reduced to scientific statement nor abstracted from its form, and yet art has meaning. Kant finds the explanation of the fact that the judgment of beauty is free, and yet claims universal validity, in the suggestion that a beautiful object is one the contemplation of which arouses and enlivens the two faculties of the intelligence, the imagination and the understanding, in their proper proportion or harmony. All knowledge needs imagination, the power of seeing resemblances and differences in objects, and understanding which by concepts gives unity and rules to the imagination. In science the imagination is subordinate to the understanding, for the aim of science is definiteness and precision. In art the imagination is free, and yet art is not the mere seeing of