The article is presented as a certain hermeneutic of Kant aesthetics from the place that would occupy the figure of the parergon (ornament) in his theory of beauty, especially considering the teleological commitment which is suggested as the essentiality of the aesthetics of the Prussian philosopher. This parergonal aesthetic or decorative, beyond one alleged philosophy of art of Illuminist court that would be seen in the third Critique, puts on view an unexpected commitment to Baroque beauty in Kant philosophy, especially if it takes into account the aesthetic-ontological Foundation of the parergon par excellence: the foliage. In the light of this study, the genius of aesthetic critique and the archetypal intellect of teleological critique seem to be subordinate to an unexpected nothing architectural of last Critique.