 While Kant attaches special importance to the beauty of nature (see, e.g., FI XI, 20:244), he also makes clear that judgments of beauty may be made also about “fine” or “beautiful” art [schöne Kunst]. In the course of his treatment of beautiful art in §§43–54 he discusses fine art in relation to the production of human artifacts more generally (§43), compares fine art to the “arts” of entertaining (telling jokes, decorating a table, providing background music) (§44), and makes some remarks about the relation between the beauty of art and that of nature, claiming in particular that fine art must “look to us like nature” in that it must seem free and unstudied (§45). Kant also offers a typology of the various fine arts (§51) and a comparison of their respective aesthetic value (§53), with poetry at the top and music—at least as far as the “cultivation of the mind” is concerned—at the bottom. Kant’s remarks about music in §§51–54 suggest that music might not even qualify as beautiful, as opposed to merely agreeable, art. This is seemingly in tension with Kant’s reference to music without words as an example of “free beauty” (§16, 5:229).