 Mendelssohn gives another twist to his interpretation of “mixed sentiments” in the Rhapsody and then later in “On the Sublime and the Naïve in the Fine Sciences.” Experiences of the sheer immensities of things — “the unfathomable world of the sea, a far-reaching plain, the innumerable legions of stars, the eternity of time, every height and depth that exhausts us” (Philosophical Writings, p. 144) — sometimes make us tremble, but we still find them alluring. It is gratifying to experience them, though they confirm an imperfection as well as a perfection in us. In “On the Sublime,” Mendelssohn further distinguishes beauty as something bounded from immensity as something unbounded. He then distinguishes extended from non-extended (intensive) immensity. The sea’s unfathomableness would be an example of extended immensity in nature; uniform repetition of temporal intervals in music would be an example of an attempt to represent the experience of an extended immensity in art. But Mendelssohn seems to be more interested in the non-extended or intensive immensities. “Power, genius, virtue have their unextended immensity that likewise arouses a spine-tingling sentiment but has the advantage of not ending, through tedious uniformity, in satiation and even disgust, as generally happens in the case of the extended immensity” (Philosophical Writings, p. 194). Mendelssohn then introduces the category of sublimity for the perfect representation of such intensive immensity, a representation that produces awe precisely because it passes beyond our customary expectations. For an insightful treatment of Mendelssohn’s view of mixed sentiments as “a complex account of the multiple sources of aesthetic responses to art,” see Guyer 2011.