 Kant’s theory of aesthetic ideas has been regarded by many commentators as peripheral to his aesthetic theory, but a number of commentators have argued that it is necessary in order to make sense of the core of Kant’s view of pure judgments of taste; see for example Savile (1987), Rogerson (2004 and 2008), Rueger and Evren (2005), Kalar (2006), and Chignell (2007). More recently, the topic of aesthetic ideas has received considerable attention in its own right. One issue concerns the role of aesthetic ideas in the beauty of nature, as opposed to that of art. While aesthetic ideas are discussed only in the sections of the Critique of Judgment which deal with artistic beauty, and not in the “Analytic of the Beautiful”, which deals with beauty more generally, Kant remarks parenthetically that natural as well as artistic beauty is the expression of aesthetic ideas (§51, 321). How are we to conceive of the aesthetic ideas expressed by nature? Reiter (2018) and Reiter and Geiger (2018) propose an interpretation in terms of the notion of an “aesthetic normal idea” introduced by Kant in the Third Moment, at §17, 233, which they relate to a notion of “ideal form” that was current in art theory at Kant’s time.