  However, on several central points the differences between Kant and Herder are not quite as great as the latter supposed. First, Kant himself interpreted the feeling of the free play of the cognitive powers in aesthetic experience as a feeling of life, and thus at the deepest level his conception of the source of aesthetic pleasure is not that different from Herder’s. Second, although Kant began his analysis with the simplest case of the free judgment of natural beauty, which is supposedly not dependent upon our conceptualization of its object, it does not end there. As he complicated his analysis of aesthetic experiences to include the cases of the adherent beauty of works of nature as well as of human art in the general sense and of fine art in particular, Kant clearly recognized the rôle of conceptualization in our response to the work, and in the case of art in the production as the well the reception of the work, and transformed his conception of free play with the mere form of an object into a conception of felt harmony between the form and the concept of the object which is not so different from Herder’s conception of the harmony in a beautiful object.  Finally, when Kant complicated his initial conception of the disinterestedness of aesthetic judgment to take account of our intellectual interest in the existence of natural beauty, he recognized that our experience of beauty is an experience of well-being and being at home in the world that is not unrelated to Herder’s conception of our experience of beauty. Nevertheless, as Kant’s terminology suggests, his conception of this interest may have remained more intellectual and moralistic than Herder himself would prefer.