e same goes for the notion of imagination, the power of mediation or synthesis between meaning and literality, the common root of the universal and the particular—as of all other similarly dissoci- ated couples—the obscure origin of these structural frameworks and of the empathy between “form and content” which makes possible both the work and the access to its unity. For Kant, the imagination was already in itself an “art,” was art itself, which originally did not dis- tinguish between truth and beauty; and despite all the differences, Kant speaks of the same imagination in the Critique of Pure Reason and the Critique of Judgment as does Rousset. It is art, certainly, but a “hidden art” 11 that cannot be “revealed to the e