  All of this, along with the impoverishing and blinding superimposition of conceptual models, templates, and pictures onto the extraordinarily rich world of aesthetic engagement, also now, at the end of his lectures, gives content to what Wittgenstein meant at the beginning with the words “entirely misunderstood”. For now, at this stage of Wittgenstein's development, where the complexity-accepting stance of the later Philosophical Investigations (1958) and other work is unearthing and uprooting the philosophical presuppositions of the simplification-seeking earlier work, examples themselves have priority as indispensable instruments in the struggle to free ourselves of misconception in the aesthetic realm. And these examples, given due and detailed attention, will exhibit a context-sensitive particularity that makes generalized pronouncements hovering high above the ground of that detail look otiose, inattentive, or, more bluntly, just a plain falsification of experience. What remains is not, then—and this is an idea Wittgenstein's auditors must themselves have struggled with in those rooms in Cambridge, as many still do today—another theory built upon now stronger foundations, but rather a clear view of our multiform aesthetic practices. Wittgenstein, in his mature, later work, did not generate a theory of language, of mind, or of mathematics. He generated, rather, a vast body of work perhaps united only in its therapeutic and intricately labored search for conceptual clarification. One sees the same philosophical aspiration driving his foray into aesthetics.