 The most common contemporary notion of an aesthetic judgment would take judgments of beauty and ugliness as paradigms—what we called “judgments of taste” in part 1. And it excludes judgments about physical properties, such as shape and size, and judgments about sensory properties, such as colors and sounds. However, in addition to judgments of beauty and ugliness, the contemporary notion of an aesthetic judgment is typically used to characterize a class of judgments that also includes judgments of daintiness, dumpiness, delicacy and elegance. In this respect, the contemporary notion seems to be broader than Kant’s, since he focused just on judgments of beauty and ugliness. However, there is also a respect in which the contemporary notion seems to be narrower than Kant’s notion. For Kant used the notion to include both judgments of beauty (or of taste) as well as judgments of the agreeable—for instance, the judgment that Canary-wine is nice (Kant 1790, 5: 203–204, 214 [2000: 89–90 and 99]). But the modern notion, unlike Kant’s, usually excludes judgments of the agreeable. Moreover, the contemporary notion usually excludes judgments about pictorial and semantic content of a work of art. For example, although the judgment that a painting represents a flower might be “relevant” to an aesthetic judgment about it, it is not itself an aesthetic judgment.