 Commentators have suggested a number of models for the feeling of pleasure and its relation to the judgment of beauty that combine features of both the one-act and the two-act view. Béatrice Longuenesse offers a view which is in partial agreement with Ginsborg’s in that it understands pleasure in the beautiful proper as felt in virtue of the subject’s awareness of the universal communicability of her mental state in the presented object (thus, like the one-act approach, requiring no emendation of §9). However, rather than understand the pleasure as awareness of its own universal communicability, Longuenesse takes it to be awareness of a prior, and independent, feeling of pleasure elicited by the free play of the faculties, so that there are two distinct feelings of pleasure involved in judging an object to be beautiful (2003: 152–155; 2006: 203–208). Sethi (2019 and forthcoming) likewise proposes that there are two distinct feelings, but denies that they are both feelings of pleasure: as on Ginsborg’s view, the pleasure is felt in virtue of the subject’s claim to the universal communicability of her feeling, but the feeling for which she claims universal communicability is not a feeling of pleasure but an antecedent, sui generis, feeling of the harmony of the faculties. Hughes (2017) argues for a single feeling associated with the judgment of beauty, but one which has a dual intentional directedness: towards the object and to the activity of the faculties in judging the object. Some commentators have endorsed a one-act approach while, unlike Ginsborg, rejecting the identification of the pleasure and the judgment: these include, for example Zuckert (2007a: §§1–2 of ch. 8) and Pollok (2017: ch. 9). Berger (forthcoming) defends a two-acts view, but her view differs from Guyer’s in that the second act is not one of reflection on the pleasure but rather of subsumption of the pleasure under the concept of beauty.