 The considered position at which Herder eventually arrived also implies that “non-linguistic” art is dependent on thought and language in another way: In the fourth and final part of the Critical Forests (which was only published posthumously in the nineteenth century) he develops the point that human perception is of its nature infused with concepts and beliefs, and consequently with language—which of course implies that the same is true of the perception of “non-linguistic” artworks in particular. So “non-linguistic” art is really doubly dependent on thought and language: not only for the thoughts that it expresses but also for those that it presupposes in perception.