  Baumgarten’s departure from Wolff here may be subtle, but his idea is that the use of a broad range of our mental capacities for dealing with sensory representations and imagery is not an inferior and provisional substitute for reason and its logical and scientific analysis, but something parallel to reason. Moreover, this complex of human mental powers is productive of pleasure, through the sensible representation of perfection, in its own right.  Baumgarten has not yet introduced the idea that aesthetic pleasure comes from the free play of our mental powers, but he has relaxed the grip of the assumption that aesthetic response is a straightforward case of cognition.