  In holding that the real source of our pleasure in beautiful objects is our sensation of our own representational activity Sulzer is led to identify aesthetically valuable forms of sentiment that are not caused by beauty at all. In fact, he argues that the fine arts must arouse the full range of human sentiments, even sentiments of ugliness (although, unlike Lessing, he does not distinguish among the fine arts in this regard) (“Häßlich” (“Ugly”), Allgemeine Theorie, volume II, pp. 457–9). But even before he reaches that conclusion, his theory of beauty makes the nature and aims of art more complex than they might initially seem. Sulzer employs a trifold division of things that please us that is not dissimilar to Kant’s subsequent distinction between the agreeable, the good, and the beautiful. He distinguishes between things that please us “even if we do not have the least conception of the constitution” or means by which they do that, things that please us only if we have “a distinct representation of their constitution,” and things that please us because “the constitution of the objects charms our attention,” but where we “sense a satisfaction in them before we cognize them distinctly, before we know what they ought to be.” The last of these is what comprise the “class of the beautiful properly speaking,” while the former correspond to Kant’s classes of the agreeable and the good respectively (“Schön” (“Beautiful”), Allgemeine Theorie, volume IV, pp. 305–19, at p. 306). Then Sulzer makes a further distinction. Because of his inclusion of purposiveness in his conception of perfection, he argues that the perfect can please us “either because of its material, or because of its external form, or through its inner constitution, by means of which it is an instrument or means for the achievement of some final end” (ibid., p. 307). Correspondingly, there is a distinction between the pleasure that we may take in superficial beauty of the form and matter of an object, and the deeper pleasure that we take when an object also has “inner worth.” “A higher species of beauty arises from the close unification of the perfect, the beautiful, and the good. This arouses not merely satisfaction, but true inner pleasure, which often empowers the entire soul, and the enjoyment of which is happiness” (ibid., pp.  309–10). On Sulzer’s account, a beauty that appeals to the full range of our cognitive and emotional capacities through its purposiveness as well as its form is a “higher species” of beauty than one that appeals to our sense of form alone.