Modern objections to Romantic music criticism often take aim at its hieratic posture, as if it were committed to the absolute metaphysical ‘truth content’ of the works it paraphrased. In fact the Idealist philosophical basis of sentimental-Romantic critical practice was a much more subjective interrelationship between feeling and reflection. As theorized by Herder, this formed the basis of Bildung, the originally anthropological idea of ‘cultivation’ later fetishized by the German middle classes. Through Kant and Schiller it tied into notions of ‘character’ and poetic ‘characterisation’, developed during the 1790s and soon a firm part of Romantic music criticism. Romantic poetic imagery could be pressed into the service of religious dogma, as it was by Joseph d’Ortigue writing on Beethoven’s instrumental music. But other forms of Romantic criticism after Herder used ‘characterisation’ instead as an empathetic path to understanding the diversity of musical cultures, an approach exemplified by Joseph Mainzer.