 Winternitz (1924), an example of this tendency, may be singled out on the grounds that it was deemed significant enough to be the subject of a rare book review by Einstein (1924). Winternitz argued that the Transcendental Aesthetic is inextricably connected to the claim of the necessarily Euclidean character of physical space and so stood in direct conflict with Einstein’s theory. It must accordingly be totally jettisoned as a confusing and unnecessary appendage of the more fundamental transcendental project of establishing the a priori logical presuppositions of physical knowledge. Indeed, these presuppositions have been confirmed by the general theory: They are spatiality and temporality as “unintuitive schema of order” in general (as distinct from any particular chronometrical relations), the law of causality and presupposition of continuity, the principle of sufficient reason, and the conservation laws. Remarkably, the necessity of each of these principles was, rightly or wrongly, soon to be challenged by the new quantum mechanics. (The ill-fated 1924 theory of Bohr, Kramers, and Slater attempting to unify the classical electromagnetic field with discontinuous quantum transitions in atoms is a period challenge to the law of conservation of energy.) According to Winternitz, the ne plus ultra of transcendental idealism lay in the claim that the world “is not given but posed (nicht gegeben, sondern aufgegeben) (as a problem)” out of the given material of sensation. Interestingly, Einstein, late in life, returns to this formulation as comprising the fundamental Kantian insight into the character of physical knowledge (1949b: 680; Ryckman 2017: chapter 10).