  As it happened, Baumgarten did not live to complete even the first of these three parts. Further, the material he did complete suggests that he may have been more successful in making conceptual space for the appreciation of the particularly sensible aspects of art than in substantively changing how art is actually experienced. What Baumgarten does is to take a list of the categories of the perfections of the content of logical or scientific cognition and construct a parallel list by adding the adjective “sensible” to them to arrive at a list of sensible or aesthetic perfections (and Meier makes a similar addition to lists of the perfections of the organization and expression of scientific knowledge). Nevertheless, some of Baumgarten’s categories of aesthetic qualities are important. The list of the perfections of every kind of cognition that Baumgarten gives in the first chapter of the Aesthetica is “wealth, magnitude, truth, clarity, and liveliness” (ubertas, magnitudo, veritas, claritas,  certitudo et vita cognitionis), and thus beauty consists in the aesthetic versions of these perfections (Aesthetica, §§22–25).