Wolff frequently reiterates that the perfection of painting or sculpture consists in accurate representation without further amplification (“On the enjoyment that can be derived from the cognition of truth,” §7, p. 257, and Psychologia Empirica, §512, pp. 389–90, and §544, pp. 420–1); he is simply using what he takes to be a non-controversial fact about painting to confirm his connection of pleasure with the intuition of perfection. In his extended discussion of architecture, however, he reveals a more subtle conception of the perfections and thus the “rules” of architecture.  In order for us to perceive it as beautiful, a building must display both the formal perfection of coherence as well as the substantive perfection of being suitable, indeed comfortable for its intended use.