What Moritz actually held is that the “internal purposiveness” of a work of art is an intimation of the perfection of the world as a whole, and that we enjoy it precisely as such an intimation. Thus Moritz attempted to stem the growth of the theory of aesthetic experience as free play by reverting to a theory of beauty as an intimation of the true order of the cosmos that has its roots in the views of Wolff and Shaftesbury.