 In his Aesthetik, Lipps closely links our aesthetic perception and our perception of another embodied person as a minded creature. The nature of aesthetic empathy is always the “experience of another human” (1905, 49). We appreciate another object as beautiful because empathy allows us to see it in analogy to another human body. Similarly, we recognize another organism as a minded creature because of empathy. Empathy in this context is more specifically understood as a phenomenon of “inner imitation,” where my mind mirrors the mental activities or experiences of another person based on the observation of his bodily activities or facial expressions. Empathy is ultimately based on an innate disposition for motor mimicry, a fact that is well established in the psychological literature and was already noticed by Adam Smith (1853). Even though such a disposition is not always externally manifested, Lipps suggests that it is always present as an inner tendency giving rise to similar kinaesthetic sensations in the observer as felt by the observed target. In seeing the angry face of another person we instinctually have a tendency of imitating it and of “imitating” her anger in this manner. Since we are not aware of such tendencies, we see the anger in her face (Lipps 1907). Despite the fact that Lipps’s primary examples of empathy focus on the recognition of emotions expressed in bodily gestures or facial expressions, his conception of empathy should not be understood as being limited to such cases. As his remarks about intellectual empathy suggest (1903b/05), he regards our recognition of all mental activities—insofar as they are activities requiring human effort—as being based on empathy or on inner imitation (See also the introductory chapter in Stueber 2006).