  What does this mean in practice? Baumgarten’s recognition of the perfection of sensible cognition as well as the perfection of what is represented as a distinct source of pleasure in beauty leads him to recognize not just one but in fact three different potential sources of beauty in a work of art: “the harmony of the thoughts insofar as we abstract from their order and their signs,” or means of expression; “the harmony of the order in which we meditate upon the beautifully thought content,” and “the harmony of the signs” or means of expression “among themselves and with the content and the order of the content” (Aesthetica, §§18–20). Here Baumgarten is importing the traditional rhetorical concepts of inventio, dispositio and elocutio into his system, and conceiving of the latter two, the harmony of the thoughts and the harmony of the expression with the thoughts, as the dimensions in which the potentials for pleasure within our distinctively sensible manner of representing and thinking are realized. He thus recognizes those aspects of works of art, which were touched upon only in passing by Wolff and Gottsched, as sources of pleasure internal to works of art that are equally significant with the pleasure that arises from the content of works, considered as representations of perfections outside of the works themselves. The three main sections of Baumgarten’s planned project, the “heuristic,” “methodology,” and “semiotics” were intended to cover these three sources of pleasure in works of art. (see Aesthetica, §13).