  Kant introduces the concept of the “ideal of beauty” in the third moment of the “Analytic of the Beautiful,” which discusses the various relations that obtain between beauty and purposiveness. Kant begins the third moment by arguing that in its purest form the judgment of taste is a response to the mere appearance of the form of purposiveness in an object, as opposed to any actual purposiveness, in either of the senses of that concept, namely, actually serving some specific purpose or having been designed to serve some purpose. Correspondingly, Kant equates pure beauty with the mere form or appearance of purposiveness rather than with actual purposiveness. However, as we saw in section 7.1, Kant complicates his analysis by recognizing forms of beauty that are not pure but are connected with (although not reducible to) the recognition of actual purposiveness. The first of these forms is “adherent beauty,” a beauty of form that is consistent with or appropriate for the actual purpose of an object that clearly has a purpose that constrains its possible form in various ways, such as an arsenal or a race horse. Then Kant comes to the “ideal of beauty,” or “the highest model, the archetype of taste…in accordance with which [anyone] must judge everything that is an object of taste,” a representation of an individual object or particular type of object that is maximally beautiful (CPJ, §17, 5:232).