But the occurrence of this comment in the context of Baumgarten’s discussion of aesthetic truth (or of how truths can be presented in ways agreeable to the senses) makes clear that with this reference to “harmony” between the lower and upper faculties of cognition he is not quite introducing the idea of a free play between them. That idea would be decisively introduced into German aesthetics only with Kant’s unique synthesis of the preceding German tradition with the British tradition. Before that was to happen, however, the ideas, emphasized more by Meier although already suggested by Baumgarten, that art aims at arousing our emotions and at the pleasurable activity of the mind, and at the former as an instance of the latter, would be further developed by an intervening generation of German thinkers. Let us now turn to some of those.