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The problem of transcendental schematism appeared in the Critique of Pure Reason as the issue of the meaning of categories forced Kant to question the independence of productive imagination and intuition from the understanding, a position that the first version of the Transcendental Deduction still shared with the “Transcendental Aesthetic” and the Dissertation of 1770. This shift became more explicit and resolute in the second version of the Transcendental Deduction, although it did not amount to assimilating productive imagination, the faculty of pure intuitions, with a function of the understanding: if “the transcendental synthesis of the imagination” is, according to the Critique’s second edition (KRV, B 152), “an effect of the understanding on sensibility”, it is because it resulted from the a priori determination, by the understanding, of some preconceptual representational activities whose presence Kant also acknowledged in animal sensibility.