Husserl’s phenomenology encounters history twice. The first time, through a collection of objects in the world: traces of past cultures, monuments, manuscripts, of which an ontological account is possible. The second time, as part of the subject itself: Far from being a pure I/eye, the subject discovers itself as a collective We, whose categories were shaped by a sedimented cultural development (e.g., history of science). In this paper, I will consider the historicity of the subject in a specific field: that of the senses. According to a classical account of Husserlian phenomenology, the stratum of sensory contents (colors, sounds, taste, pain...) is the fundamental layer of our perception of the world. It is what gives rise to the world and, as such, cannot itself be accounted for in the same way, by being traced back to a more primitive stratum. However, acknowledging a historical dimension of senses, as suggested by what cultural historians and anthropologists have investigated in the last decades under the title of “sensory history” (Corbin, Howes, Classen...), challenges this sequential narrative. Does the constituted object (society, culture, history) exert a feedback effect on the subject itself? Or is there a dimension of history more fundamental than the ontological? Is our sensibility a historical faculty? Furthermore, how should we understand structurally the idea of a history of senses? Do the evolutions occur at the level of sensory contents themselves, or at grounded levels, affecting the judgments or feelings experienced “about” sensory contents? Such questions will be investigated through the framework of the analysis of passive synthesis, with the concept of sedimentation and the “laws of the propagation of affection”, echoed by insights coming from the recently developing field of “sensory history”.