The concepts we use to think these elemental relations Herbart calls “paradigms or Ideas” (Weiss 1928: 118). The exhaustive presentation of these elementary relations grounds aesthetics as a science. Once they are in hand, it can survey all possible aesthetic relations, as in figured bass. Indeed, Herbart considers figured bass to be the only existing model of an aesthetic science, for it “demands and receives an absolute judgment for its simple intervals, chords, and progressions, without proving or explaining anything” (SW II: 345).