  In this account, Kant makes two striking assumptions. First, he asserts that in “pure” judgments of taste our pleasure in beauty is a response only to the perceptible form of an object, not to any matter or content it may have—for example, in pictorial arts, “the drawing is what is essential,” while the “colors that illuminate the outline…can…enliven the object in itself for sensation, but cannot make it…beautiful” (CPJ, §14, 5:225). Second, he assumes that the cognitive faculties of all human beings work the same way, that is, respond to particular objects in the same way, even when they are in “free play” rather than at serious work. The second of these claims seems indefensible, but Kant never backs off from it. The first of these claims also seems unjustifiable, but this time Kant modifies his claim almost as soon as he makes it. While he continues to maintain that in pure judgments of taste our pleasure is in the unity of the form of the object alone, he quickly recognizes that there are a variety of impure forms of beauty where what we respond to with the free play of our imagination and understanding is harmony between an object’s perceptible form and its matter, its content, or even its purpose. Thus, just two sections after his assertion of formalism, Kant introduces the category of “adherent beauty,” which is the kind of harmony between an object’s form and its intended function that pleases us in a beautiful summer-house or racehorse; and he will subsequently assume that successful works of fine art normally have intellectual content and please us in virtue of the harmony among their content, form, and material.