 This distinction anticipates Kant’s subsequent distinction between the “mathematical” and the “dynamical” sublime, and while it was not uncommon in British discussions of the sublime, Mendelssohn may have been Kant’s source for it. Mendelssohn then says that either immensity of size or immensity of strength first “captures our attention” and “arouses a sweet shudder that rushes through every fiber of our being…giving wings to the imagination to press further and further without stopping.” “All these sentiments blend together in the soul,” becoming “a single phenomenon which we call awe” (loc. cit.).  But the feeling of awe at immensity does not yet complete the complex experience of the sublime; for that, there must also be an element of admiration at a perfection—for remember that Mendelssohn’s project is still to ground all aesthetic experience on the underlying principle of pleasure in perfection. So the immensity which inspires us with awe must also be interpreted as a manifestation of perfection. Mendelssohn then invokes the same distinction he employed in his discussion of artistry. The immensity which fills us with awe may be either a product of divine artistry, in which case