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However, if it be granted that our deduction at least proceeds by the right method, although it be not yet plain enough in all its parts, three Ideas manifest themselves. First, there is the Idea of the supersensible in general, without any further determination of it, as the substrate of nature. Secondly, there is the Idea of the same as the principle of the subjective purposiveness of nature for our cognitive faculty. And thirdly, there is the Idea of the same as the principle of the purposes of freedom, and of the agreement of freedom with its purposes in the moral sphere.

58. Of the Idealism of the purposiveness of both Nature and Art as the unique principle of the aesthetical Judgement

To begin with, we can either place the principle of taste in the fact that it always judges in accordance242 with grounds which are empirical and therefore are only given a posteriori by sense, or concede that it judges on a priori grounds. The former would be the empiricism of the Critique of Taste; the latter its rationalism. According to the former the Object of our satisfaction would not differ from the pleasant; according to the latter, if the judgement rests on definite concepts, it would not differ from the good. Thus all beauty would be banished from the world, and only a particular name, expressing perhaps a certain mingling of the two above-named kinds of satisfaction, would remain in its place. But we have shown that there are also a priori grounds of satisfaction which can subsist along with the principle of rationalism, although they cannot be comprehended in definite concepts.

On the other hand, the rationalism of the principle of taste is either that of the realism of the purposiveness, or of its idealism. Because a judgement of taste is not a cognitive judgement, and beauty is not a characteristic of the Object, considered in itself, the rationalism of the principle of taste can never be placed in the fact that the purposiveness in this judgement is thought as objective, i.e. that the judgement theoretically, and therefore also logically (although only in a confused way), refers to the perfection of the Object. It only refers aesthetically to the agreement of the representation of the Object in the Imagination with the essential principles of Judgement in general in the subject. Consequently, even according to the principle of rationalism, the judgement of taste and the distinction between its realism and idealism can only be settled thus. Either in the first case, this subjective purposiveness is assumed as an actual (designed)243 purpose of nature (or art) harmonising with our Judgement; or, in the second case, as a purposive harmony with the needs of Judgement, in respect of nature and its forms produced according to particular laws, which shows itself, without purpose, spontaneously, and contingently.

The beautiful formations in the kingdom of organised nature speak loudly for the realism of the aesthetical purposiveness of nature; since we might assume that behind the production of the beautiful there is an Idea of the beautiful in the producing cause, viz. a purpose in respect of our Imagination. Flowers, blossoms, even the shapes of entire plants; the elegance of animal formations of all kinds, unneeded for their proper use, but, as it were, selected for our taste; especially the charming variety so satisfying to the eye and the harmonious arrangement of colours (in the pheasant, in shell-fish, in insects, even in the commonest flowers), which, as it only concerns the surface and not the figure of these creations (though perhaps requisite in regard of their internal purposes), seems to be entirely designed for external inspection; these things give great weight to that mode of explanation which assumes actual purposes of nature for our aesthetical Judgement.

On the other hand, not only is Reason opposed to this assumption in its maxims, which bid us always avoid as far as possible unnecessary multiplication of principles; but nature everywhere shows in its free formations much mechanical tendency to the productions of forms which seem, as it were, to be made for the aesthetical exercise of our Judgement, without affording the least ground for the supposition that there is need of anything more than its mechanism,244 merely as nature, according to which, without any Idea lying at their root, they can be purposive for our judgement. But I understand by free formations of nature those whereby from a fluid at rest, through the volatilisation or separation of a portion of its constituents (sometimes merely of caloric), the remainder in becoming solid assumes a definite shape or tissue (figure or texture), which is different according to the specific difference of the material, but in the same material is constant. Here it is always presupposed that we are speaking of a perfect fluid, i.e. that the material in it is completely dissolved, and that it is not a mere medley of solid particles in a state of suspension.

Formation, then, takes place by a shooting together, i.e. by a sudden solidification, not by a gradual transition from the fluid to the solid state, but all at once by a saltus; which transition is also called crystallisation. The commonest example of this kind of formation is the freezing of water, where first icicles are produced, which combine at angles of 60, while others attach themselves to each vertex, until it all becomes ice; and so that, while this is going on, the water does not gradually become viscous, but is as perfectly fluid as if its temperature were far higher, although it is absolutely ice-cold. The matter that disengages itself, which is dissipated suddenly at the moment of solidification, is a considerable quantum of caloric, the disappearance of which, as it was only required for preserving fluidity, leaves the new ice not in the least colder than the water which shortly before was fluid.

Many salts, and also rocks, of a crystalline figure, are produced thus from a species of earth dissolved in water, we do not exactly know how.245 Thus are formed the glandular configurations of many minerals, the cubical sulphide of lead, the ruby silver ore, etc., in all probability in water and by the shooting together of particles, as they become forced by some cause to dispense with this vehicle and to unite in definite external shapes.

But also all kinds of matter, which have been kept in a fluid state by heat, and have become solid by cooling, show internally, when fractured, a definite texture. This makes us judge that if their own weight or the disturbance of the air had not prevented it, they would also have exhibited on the outer surface their specifically peculiar shapes. This has been observed in some metals on their inner surface, which have been hardened externally by fusion but are fluid in the interior, by the drawing off the internal fluid and the consequent undisturbed crystallisation of the remainder. Many of these mineral crystallisations, such as spars, hematite, arragonite, etc., often present beautiful shapes, the like of which art can only conceive; and the halo in the cavern of Antiparos102 is merely produced by water trickling down strata of gypsum.

The fluid state is, to all appearance, older than the solid state, and plants as well as animal bodies are fashioned out of fluid nutritive matter, so far as this forms itself in a state of rest. This last of course primarily combines and forms itself in freedom according to a certain original disposition directed towards purposes (which, as will be shown in Part II., must not be judged aesthetically but teleologically according to the principle of realism), but also perhaps in conformity with the universal246 law of the affinity of materials. Again, the watery fluids dissolved in an atmosphere that is a mixture of different gases, if they separate from the latter on account of cooling, produce snow figures, which in correspondence with the character of the special mixture of gases, often seem very artistic and are extremely beautiful. So, without detracting from the teleological principle by which we judge of organisation, we may well think that the beauty of flowers, of the plumage of birds, or of shell-fish, both in shape and colour, may be ascribed to nature and its faculty of producing forms in an aesthetically purposive way, in its freedom, without particular purposes adapted thereto, according to chemical laws by the arrangement of the material requisite for the organisation in question.