This chapter focuses on the aesthetic appeal of inanimate nature, plants, and animals. Hegel’s ontological privileging of living beings, and especially of animal bodies, comes hand in hand with their aesthetic privileging, and so particular focus is given to the beauty of animateness, and especially to that of animal bodies. It is argued that, while most appearances of animal life serve to disclose their finitude, and so their ontological dependency, there are striking moments in which their remarkable animateness stands out as such. And given that Hegel gives us good reason to think of life, in its ontology, as an essentially infinite and autonomous movement, this conspicuousness of animation provides us with an ephemeral glimpse of a more profound beauty. As the various dimensions of animation and its ways of appearing are explored in some detail, the chapter comes to argue, somewhat counter to Hegel though for Hegelian reasons, that it is particularly in animal movement – as opposed to the more static shape of the animal body, which is largely Hegel’s focus – that the full splendor of animateness is revealed.