  Both the essay on art as “that which is complete in itself” and a longer pamphlet “On the formative Imitation of the Beautiful” (Über die bildende Nachahmung des Schönen) that Moritz published in 1788 start off with a contrast between the beautiful on the one side and the useful and the good on the other in a way that does anticipate the opening stratagem of Kant’s “Analytic of the Beautiful” in his Critique of the Power of Judgment in 1790. Moritz analyses the useful in particular as a means to a perfection that lies outside of the useful object itself, namely,