By contrast, Herder argues that any division of the arts, as well as any account of the way in which different arts need to be cultivated and contribute to our overall cultivation and development, must attend to the specificity of our senses. For Herder, any classification of the arts, and indeed any theory of aesthetic education and the contribution of aesthetic education to general education, must be based upon a firm grasp of the differences as well as the similarities among sight, hearing, touch, speech, and song (for that too is among the arts of the tongue).  In his view Kant does not have that grasp. Nor does it seem too much of a stretch to think that Schiller’s theory of aesthetic education is deficient in this regard, too. Although Herder does not mention Schiller by name anywhere in Kalligone, he does begin the work by bemoaning the influence of Kant’s third Critique upon his followers, and Schiller might be supposed to be the foremost among these, albeit one with whom Herder had to maintain cordial relations in Weimar and perhaps spared for this reason.