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Click on the phrases to see them in context. The original texts by Immanuel Kant and David Hume are available from the Gutenberg Projet.

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Thus we find ourselves involved in a difficulty which did not present itself in the sphere of sensibility, that is to say, we cannot discover how the subjective conditions of thought can have objective validity, in other words, can become conditions of the possibility of all cognition of objects; for phenomena may certainly be given to us in intuition without any help from the functions of the understanding.

 Understanding and sensibility, with us, can determine objects only in conjunction. In conclusion, that transcendental aesthetic cannot contain any more than these two elements--space and time, is sufficiently obvious from the fact that all other conceptions appertaining to sensibility, even that of motion, which unites in itself both elements, presuppose something empirical. But an thought must directly, or indirectly, by means of certain signs, relate ultimately to intuitions; consequently, with us, to sensibility, because in no other way can an object be given to us. To distinguish the peculiar action of the understanding from the power which mingles with it, it is necessary to consider an erroneous judgement as the diagonal between two forces, that determine the judgement in two different directions, which, as it were, form an angle, and to resolve this composite operation into the simple ones of the understanding and the sensibility. 

For these will be highly appreciated.

 For herein lies the mystery of the origin and source of our faculty of sensibility. But, as the synthesis of imagination has for its aim no single intuition, but merely unity in the determination of sensibility, the schema is clearly distinguishable from the image. We may, at the same time, term the non-sensuous cause of phenomena the transcendental object--but merely as a mental correlate to sensibility, considered as a receptivity. In order to admit this, we have only to be convinced that there is an absolutely necessary use of pure reason--the moral use--in which it inevitably transcends the limits of sensibility, without the aid of speculation, requiring only to be insured against the effects of a speculation which would involve it in contradiction with itself. The science of all the principles of sensibility a priori, I call transcendental aesthetic.* There must, then, be such a science forming the first part of the transcendental doctrine of elements, in contradistinction to that part which contains the principles of pure thought, and which is called transcendental logic.