 Nevertheless, Hutcheson does believe aesthetic misjudgments are possible, and in the course of explaining their occurrence he deploys Locke’s doctrine of association of ideas, a doctrine according to which ideas linked solely by chance or custom come to be associated in our minds and become almost inseparable from each other though they are ‘not at all of kin’. Hutcheson holds that an art connoisseur’s judgment can be distorted through his tendency to associate ideas, and notes in particular that a connoisseur’s aesthetic response to a work of art is likely to be affected by the fact that he owns it, for the pleasure of ownership will tend to intermix with and distort the affective response he would otherwise have to the object. Hutcheson, it should be added, is equally sensitive to the danger to our moral judgments that is posed by our associative tendency. And in both types of case the best defence against the threat is reflection, understood as a mental probing, an examination and then cross-examination, whether of a work of art or of an action, and of the elements in and aspects of our situation that motivate our judgments, all this with a view to factoring out irrelevant considerations. Without such mental exercises we cannot, in his view, obtain what he terms ‘true liberty and self-command’. This position, which he presents several times, points to a doctrine of free will not otherwise readily discernible in his writings. Our free will, on this account, is a habit of reflection through which we form a judgment which we are in a position to defend. We stand back from the object of reflection, do not allow ourselves to be overwhelmed by it, but instead adjudicate it in the light of whatever considerations we judge it appropriate to bring to bear (Broadie 2016).