Schiller’s notion of moving beauty emerged as an early insight into kinaesthetic beauty as opposed to architectonic beauty. In his theory of beauty, Schiller followed Kant’s transcendental approach, although he disagreed with some of Kant’s conclusions. However, Kant’s transcendental insights, or rather his theory of schematisation, complemented by Husserl’s research on kinaesthesis, seem to be in line with Schiller’s thinking. In the light of these investigations, Schiller’s thoughts on kinaesthetic beauty—as an appearance of freedom—take on a new significance.