  However, Kant interposes his analysis of the experience of the sublime between his initial analysis of pure beauty and his later analysis of fine art. Again following a hint that we have already found in Mendelssohn, Kant recognizes two forms of the sublime: the “mathematical” and the “dynamical.” Our experience of both is a mixture of pain and pleasure, a moment of pain due to an initial sense of the limits of imagination followed by pleasure at the recognition that it is our own power of reason that reveals the limits of our imagination. The mathematical sublime involves the relationship between imagination and theoretical reason, which is the source of our idea of the infinite; our experience of this form of the sublime is triggered by the observation of natural vistas so vast that our effort to grasp them in a single image is bound to fail, but which then pleases us because this very effort of the imagination reminds us that we have a power of reason capable of formulating the idea of the infinite (CPJ, §26, 5:254–5).