 There is one last aspect of Mendelssohn’s aesthetics that deserves mention, not least for its bearing on subsequent developments in aesthetics. It has already been noted that the pleasures of beauty and sublimity are not to be identified as purely sensuous or purely intellectual pleasures. In keeping with this differentiation, Mendelssohn differentiates the sort of approval involved in aesthetic experiences from knowledge or desire, though he insists that aesthetic feelings of pleasure can, nonetheless, serve “as the transition (Uebergang) as it were from knowing to desiring” (Gesammelte Schriften, 3/2, pp. 61f; Philosophical Writings, pp. 169, 307–310). In his adoption of three distinct capacities of the mind and in his appraisal of the aesthetic dimension as providing a bridge between matters of truth and falsity (capacities of knowing) and matters of good and evil (capacities of desiring), Mendelssohn plainly anticipates central aspects of Kant’s mature, critical philosophy. A further, though less precise similarity also deserves mention, namely, the likeness between Kant’s conception of the disinterested character of experience of the beautiful and Mendelssohn’s conception of the experience as something affording us a pleasure that is neither simply sensuous or intellectual. “We consider the beauty of nature and art with pleasure and satisfaction, without the slightest movement of desire. Instead, it appears to be a particular mark of beauty that it is considered with tranquil satisfaction; that it pleases if we also do not possess it and we are still far removed from demanding to possess it” (Gesammelte Schriften, 3/2, p. 61; Philosophical Writings, pp. 34–51). For a more detailed review of the robust affinities of Kant’s aesthetics with Mendelssohn’s (despite Kant’s rejection of perfectionism in aesthetics) together with a discussion of certain advantages of Mendelssohn’s aesthetics in contrast to Kant’s, see Guyer 2018b.