 It was left to Baumgarten to formulate a recognizably modern aesthetic doctrine on Wolffian foundations. This he did through focusing on the soul’s faculty of sensibility, ultimately identifying aesthetics as the science of sensible cognition. Where Wolff had conceived of the senses merely as providing the raw material for thinking, Baumgarten thought that the senses had their own rules and their own perfection, rules and perfection that differ from logical rules and the knowledge generated by the process of intellectual clarification. So, while representations might be logically perfect and attain to intensive clarity insofar as we distinguish a number of marks within it, representations of the senses, even as confused representations, can attain to extensive clarity inasmuch as they represent a multitude of things (Baumgarten 1735: §17). In this way, poetic representation can be richer, and more moving, than representations attained through the use of the understanding—moving since Baumgarten contends that such representations as (aesthetically) perfect can also occasion pleasure in us. One cannot but see the influence that Baumgarten likely had on Kant’s Critical philosophy — his vindication of the senses reappears in an inherently Kantian way both in the Transcendental Aesthetic of the Critique of Pure Reason and in the Critique of the Power of Judgment.