  Wolff writes as a spokesman for the Enlightenment, and he is emphatic that God reveals his wisdom and power not by intervening in the course of the world by means of miracles, but rather by designing everything in the world as if it were all smoothly-running machines that can achieve his goals without further intervention (see German Metaphysics, §1037, p. 796). This might seem to leave no room at all for the human creation of art, which all eighteenth-century writers will conceive of as a production of genius that is the complete opposite of anything mechanical. But for Wolff our ability to produce works of art is another manifestation of the perfection of the world—of which we are a part—and in turn of God. Wolff draws no distinction between the works of human art that are the subject of the “science of art” and the works of nature, nor for that matter any distinction between the works of human art that are the subject of the “science of art” and those human creations that are the subjects of the “doctrine of morals and statecraft”: they are all forms of perfection which, in a teleological natural theology, all ultimately mirror the perfection of God. And no doubt Wolff hardly thought it necessary to spell out the moral benefits of such a recognition.