even on what is good in the idea, which hence appears fictitious and unreal.
Such is the constitution of the ideal of reason, which is always based upon determinate conceptions, and serves as a rule and a model for limitation or of criticism. Very different is the nature of the ideals of the imagination. Of these it is impossible to present an intelligible conception; they are a kind of monogram, drawn according to no determinate rule, and forming rather a vague picture—the production of many diverse experiences—than a determinate image. Such are the ideals which painters and physiognomists profess to have in their minds, and which can serve neither as a model for production nor as a standard for appreciation. They may be termed, though improperly, sensuous ideals, as they are declared to be models of certain possible empirical intuitions. They cannot, however, furnish rules or standards for explanation or examination.
In its ideals, reason aims at complete and perfect determination according to a priori rules; and hence it cogitates an object, which must be completely determinable in conformity with principles, although all empirical conditions are absent, and the conception of the object is on this account transcendent.
SECTION II. Of the Transcendental Ideal (Prototypon Trancendentale).
Every conception is, in relation to that which is not contained in it, undetermined and subject to the principle of determinability. This principle is that, of every two contradictorily opposed predicates, only one can belong to a conception. It is a purely logical principle, itself based upon the principle of contradiction; inasmuch as it makes complete abstraction of the content and attends merely to the logical form of the cognition.
But again, everything, as regards its possibility, is also subject to the principle of complete determination, according to which one of all the possible contradictory predicates of things must belong to it. This principle is not based merely
