There is, significantly, very little notice given to the disgusting in the history of aesthetics from Kant to Jean Clair. This shows that however bloody the history of Europe has been, most particularly in the Twentieth century, we remain very much men and women of the Enlightenment in our philosophies of art. Aesthetics itself has been regarded as part of what Santayana designates as the Genteel Tradition, in which the disgusting, because unmentionable, was unmentioned, and art was taken as logically incapable of giving offense: if it gave offense, it was after all not art.1