 In claiming that judgments of beauty have both sets of features, Kant can be seen as reacting equally against the two main opposing traditions in eighteenth-century aesthetics: the “empiricist” tradition of aesthetics represented by Hume, Hutcheson and Burke, on which a judgment of taste is an expression of feeling without cognitive content, and the “rationalist” tradition of aesthetics represented by Baumgarten and Meier, on which a judgment of taste consists in the cognition of an object as having an objective property. Kant’s insistence that there is an alternative to these two views, one on which judgments of beauty are both based on feeling and make a claim to universal validity, is probably the most distinctive aspect of his aesthetic theory. But this insistence confronts him with the obvious problem of how the two features, or sets of features, are to be reconciled. As Kant puts it: