[Footnote: The Germans are the only people who at present use this
word to indicate what others call the critique of taste. At the foundation
of this term lies the disappointed hope, which the eminent analyst,
Baumgarten, conceived, of subjecting the criticism of the beautiful
to principles of reason, and so of elevating its rules into a science.
But his endeavours were vain. For the said rules or criteria are, in
respect to their chief sources, merely empirical, consequently never
can serve as determinate laws a priori, by which our judgement in
matters of taste is to be directed. It is rather our judgement which
forms the proper test as to the correctness of the principles. On this
account it is advisable to give up the use of the term as
designating the critique of taste, and to apply it solely to that
doctrine, which is true science--the science of the laws of
sensibility--and thus come nearer to the language and the sense of
the ancients in their well-known division of the objects of cognition
into aiotheta kai noeta, or to share it with speculative philosophy,
and employ it partly in a transcendental, partly in a psychological
signification.]

In the science of transcendental aesthetic accordingly, we shall
first isolate sensibility or the sensuous faculty, by separating
from it all that is annexed to its perceptions by the conceptions of
understanding, so that nothing be left but empirical intuition. In
the next place we shall take away from this intuition all that belongs
to sensation, so that nothing may remain but pure intuition, and the
mere form of phenomena, which is all that the sensibility can afford
a priori. From this investigation it will be found that there are two
pure forms of sensuous intuition, as principles of knowledge a priori,
namely, space and time. To the consideration of these we shall now
proceed.