rableness of the beautiful rests on the fact that
it establishes a pleasing harmony between the imagination and the
understanding, hence between sensuous and intellectual apprehension, the
aesthetic attitude is possible only in sensuous-rational beings. The
agreeable exists for the animal as well, and the good is an object of
approval for pure spirits; but the beautiful exists for humanity alone.
Kant succeeded in giving very delicate and felicitous verbal expression
to these distinctions: the agreeable gratifies _(vergnuegt)_ and excites
inclination _(Neigung)_; the good is approved _(gebilligt)_ and arouses
respect _(Achtung)_; the beautiful "pleases" _(gefaellt)_ and finds "favor"
_(Gunst)_.

In the progress of the investigation the principle that beauty depends on
the form alone, and that the concept, the purpose, the nature of the
object is not taken into account at all in aesthetic judgment, experiences
limitation. In its full strictness this applies only to a definite and, in
fact, a subordinate division of the beautiful, which Kant marks off under
the name of pure or _free_ beauty. With this he contrasts _adherent_
beauty, as that which presupposes a generic concept to which its form must
correspond and which it must adequately present. Too much a purist not
to mark the coming in of an intellectual pleasure as a beclouding of the
"purity" of the aesthetic satisfaction, he is still just enough to admit
the higher worth of adherent beauty. For almost the whole of artificial
beauty and a considerable part of natural beauty belong to this latter
division, which we to-day term ideal and characteristic beauty. Examples of
free or purely formal beauty are tapestry patterns, arabesques, fountains,
flowers, and landscapes, the pleasurableness of which rests simply on the
proportion of their form and relations, and not upon their conformity to a
presupposed significance and determination of the thing. A building, on the
contrary--a dwelling, a summer-house, a temple--is considered beautiful
only when we perceive in it not merely harmonious relations of the parts
one to another, but also an agreement between the form and the purpose or
generic concept: a church must not look like a chalet. Here the external
form is compared with an inner nature, and harmony is required between form
and content. Adherent beauty is significant and expressive beauty, which,
although the satisfaction in it is not "purely" aesthetic, neverthele