  Yet the reference to the “lower powers of the soul” in the final line of the quotation suggests that Mendelssohn will continue to work within the general paradigm of Wolffian philosophy himself. He certainly does, but what he aims to do is to show that the perfections that can be realized in aesthetic experience are both more positive and more complicated than those recognized by Baumgarten. Mendelssohn’s method allows him to recognize that all of our aesthetic experiences draw on a range of mental and even physical resources, and that because of this many aesthetic experiences can be understood only as “mixed” rather than simple feelings. Mendelssohn’s analysis of the complexity of aesthetic experience places more emphasis on the powers of mind and body involved in such experience than on the objective perfections that art may represent or nature contain. His account further prepares the ground for the full-blown theory of aesthetic experience as based in a play of our powers that will subsequently be achieved by Kant and Schiller. But in his emphasis on the role of the body as well as the mind in aesthetic experience, Mendelssohn goes beyond his successors.