Front Page Titles (by Subject) § 15.: The judgement of taste is quite independent of the concept of perfection - The Critique of Judgement
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§ 15.: The judgement of taste is quite independent of the concept of perfection - Immanuel Kant, The Critique of Judgement 
Kant’s Critique of Judgement, translated with Introduction and Notes by J.H. Bernard (2nd ed. revised) (London: Macmillan, 1914).
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The judgement of taste is quite independent of the concept of perfection
Objective purposiveness can only be cognised by means of the reference of the manifold to a definite purpose, and therefore only through a concept. From this alone it is plain that the Beautiful, the judging of which has at its basis a merely formal purposiveness, i.e. a purposiveness without purpose, is quite independent of the concept of the Good; because the latter presupposes an objective purposiveness, i.e. the reference of the object to a definite purpose.
Objective purposiveness is either external, i.e. the utility, or internal, i.e. the perfection of the object. That the satisfaction in an object, on account of which we call it beautiful, cannot rest on the representation of its utility, is sufficiently obvious from the two preceding sections; because in that case it would not be an immediate satisfaction in the object, which is the essential condition of a judgement about beauty. But objective internal purposiveness, i.e. perfection, comes nearer to the predicate of beauty; and it has been regarded by celebrated philosophers1 as the same as beauty, with the proviso, if it is thought in a confused way. It is of the greatest importance in a Critique of Taste to decide whether beauty can thus actually be resolved into the concept of perfection.
To judge of objective purposiveness we always need not only the concept of a purpose, but (if that purposiveness is not to be external utility but internal) the concept of an internal purpose which shall contain the ground of the internal possibility of the object. Now as a purpose in general is that whose concept can be regarded as the ground of the possibility of the object itself; so, in order to represent objective purposiveness in a thing, the concept of what sort of thing it is to be must come first. The agreement of the manifold in it with this concept (which furnishes the rule for combining the manifold) is the qualitative perfection of the thing. Quite different from this is quantitative perfection, the completeness of a thing after its kind, which is a mere concept of magnitude (of totality).1 In this what the thing ought to be is conceived as already determined, and it is only asked if it has all its requisites. The formal [element] in the representation of a thing, i.e. the agreement of the manifold with a unity (it being undetermined what this ought to be), gives to cognition no objective purposiveness whatever. For since abstraction is made of this unity as purpose (what the thing ought to be), nothing remains but the subjective purposiveness of the representations in the mind of the intuiting subject. And this, although it furnishes a certain purposiveness of the representative state of the subject, and so a facility of apprehending a given form by the Imagination, yet furnishes no perfection of an Object, since the Object is not here conceived by means of the concept of a purpose. For example, if in a forest I come across a plot of sward, round which trees stand in a circle, and do not then represent to myself a purpose, viz. that it is intended to serve for country dances, not the least concept of perfection is furnished by the mere form. But to represent to oneself a formal objective purposiveness without purpose, i.e. the mere form of a perfection (without any matter and without the concept of that with which it is accordant, even if it were merely the Idea of conformity to law in general1 ) is a veritable contradiction.
Now the judgement of taste is an aesthetical judgement, i.e. such as rests on subjective grounds, the determining ground of which cannot be a concept, and consequently cannot be the concept of a definite purpose. Therefore in beauty, regarded as a formal subjective purposiveness, there is in no way thought a perfection of the object, as a wouldbe formal purposiveness, which yet is objective. And thus to distinguish between the concepts of the Beautiful and the Good, as if they were only different in logical form, the first being a confused, the second a clear concept of perfection, but identical in content and origin, is quite fallacious. For then there would be no specific difference between them, but a judgement of taste would be as much a cognitive judgement as the judgement by which a thing is described as good; just as when the ordinary man says that fraud is unjust he bases his judgement on confused grounds, whilst the philosopher bases it on clear grounds, but both on identical principles of Reason. I have already, however, said that an aesthetical judgement is unique of its kind, and gives absolutely no cognition (not even a confused cognition) of the Object; this is only supplied by a logical judgement. On the contrary, it simply refers the representation, by which an Object is given, to the subject; and brings to our notice no characteristic of the object, but only the purposive form in the determination of the representative powers which are occupying themselves therewith. The judgement is called aesthetical just because its determining ground is not a concept, but the feeling (of internal sense) of that harmony in the play of the mental powers, so far as it can be felt in sensation. On the other hand, if we wish to call confused concepts and the objective judgement based on them, aesthetical, we shall have an Understanding judging sensibly or a Sense representing its Objects by means of concepts [both of which are contradictory.1 ] The faculty of concepts, be they confused or clear, is the Understanding; and although Understanding has to do with the judgement of taste, as an aesthetical judgement (as it has with all judgements), yet it has to do with it not as a faculty by which an object is cognised, but as the faculty which determines the judgement and its representation (without any concept) in accordance with its relation to the subject and the subject’s internal feeling, in so far as this judgement may be possible in accordance with a universal rule.
[1 ][Kant probably alludes here to Baumgarten (1714–1762), who was the first writer to give the name of Aesthetics to the Philosophy of Taste. He defined beauty as “perfection apprehended through the senses.” Kant is said to have used as a text-book at lectures a work by Meier, a pupil of Baumgarten’s, on this subject.]
[1 ][Cf. Preface to the Metaphysical Elements of Ethics, v.: “The word perfection is liable to many misconceptions. It is sometimes understood as a concept belonging to Transcendental Philosophy; viz. the concept of the totality of the manifold, which, taken together, constitutes a Thing; sometimes, again, it is understood as belonging to Teleology, so that it signifies the agreement of the characteristics of a thing with a purpose. Perfection in the former sense might be called quantitative (material), in the latter qualitative (formal) perfection.”]
[1 ][The words even if . . . general were added in the Second Edition.]
[1 ][Second Edition.]