  Herder’s criticisms of Lessing and Riedel (section 5.1) prefigure several of his objections to Kant. He objects to Kant’s abstract method in aesthetics, to his failure to emphasize adequately the rôle of the senses and the differences among them both in his account of aesthetic experience and in his classification of the arts, to an inadequate recognition of the importance of truth (indeed truth in several senses ) in our experience of art, and to what he sees as Kant’s inadequate emphasis on the way in which aesthetic experience gives us a feeling of being alive. But what is missing from Herder’s early critical aesthetics is an objection to the aesthetics of play, for the simple reason that Kant had not yet made that prominent in German aesthetics. In turning now to Herder’s criticisms of Kant in Kalligone, we will have to add that objection to his list of charges.