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Hence arises the distinction between the Transcendental Aesthetic and the Transcendental Analytic, the former dealing with the a priori judgements of mathematics, which relate to the sensibility, and the latter dealing with the a priori principles of physics, which originate in the understanding.

He calls it Transcendental Aesthetic, and refuses to allow the term to be used for the Critique of Taste, which could never become a science.

Characterizing or qualifying imagination, that is, aesthetic activity, should therefore take the place occupied by the study of space and time in the Critique of Pure Reason, and constitute the true Transcendental Aesthetic, prologue to Logic.

Art being unknown to him in its essential nature, he invents the functions of space and time and terms this transcendental aesthetic; he develops the theory of the imaginative beautifying of the intellectual concept by genius; he is finally forced to admit a mysterious power of feeling, intermediate between the theoretic and the practical activity.

On the contrary, transcendental logic has lying before it the manifold content of a priori sensibility, which transcendental aesthetic presents to it in order to give matter to the pure conceptions of the understanding, without which transcendental logic would have no content, and be therefore utterly void.