Inevitably, what comes to mind first and foremost when speaking of Ehrenfels’ legacy, is the idea of Gestalt. Whatever the inspiration by Mach or parallel developments in Husserl, it was Ehrenfels’ seminal paper “Über Gestaltqualitäten” that gave rise to the ensuing debates in the school of Brentano and beyond. As Smith (1988, 12) observes: “The importance of Ehrenfels’ paper rests on the fact that it contains the first concentrated reflections on the question ‘what complex perceived formations such as spatial figures or melodies might be’.” Ehrenfels’ original proposal of “Gestaltqualitäten” still left many issues open or unclear, which were soon taken up in various ways by his fellow Brentanians. Despite opposition against his terminological choice and the development of alternative terminologies, such as Meinong’s “founded contents” (1891, 253) and Husserl’s “figural moments” (1891, 236 n. 1) or “moments of unity” (1901, 230), Ehrenfels’ article fixed the terminology and many of the conceptual categories. At variance with Brentano’s other pupils, Ehrenfels did not manage to establish a school or movement of his own, although he was the first teacher of Max Wertheimer in Prague. While Ehrenfels’ work sketched the larger picture and provided a general framework to approach Gestalt phenomena, many of the details were worked out subsequently by the Graz and Berlin schools of Gestalt psychology, formed by the students of Stumpf (Max Wertheimer, Kurt Koffka and Wolfgang Köhler) and Meinong (Stephan Witasek and Vittorio Benussi). Systematically, the schools differ mainly in their views on how Gestalt qualities originate. Contra Ehrenfels, the Graz school argued that Gestalten are actively produced by our intellect on the basis of the Gestalt switch phenomenon (see, among others, Smith 1994, 259 ff.).