After he fed off the philosophies of Leibniz, Hume, Baumgarten, Sulzer and Mendelssohn, Kant managed through methodological and epistemological paths to cast doubts on the classic aesthetics still stranded in the ashes of metaphysic. It is those useless speculations and entangling statism of the antique aesthetics that awoken Kant from then into a critical reflection about judgment of knowledge; Kant aims at raising it to the science of senses knowledge. And considering this, Kant argues that the aesthetics judgment’s principle is the feeling of the subject rather than the concept of an object: the cause of pleasure thus lies with the subject and not the contrary. From a historico-analytical method, the result we wish to achieve at in this work is as follows: through transcendental aesthetics the sensible acquires a place which is proper to it within philosophical discourse and a place if not foundational, at least critical. That’s the reason why Kant will erect aesthetics into a science.