  In conclusion, Kant occupied a central place in eighteenth-century German aesthetics, although he is hardly the only important figure in the period. Rather, he synthesized the aesthetics of truth, especially moral truth, represented by the Wolffians with the aesthetics of play represented in Germany by Mendelssohn and Sulzer, but did so in a subtle and complicated way that resisted the simplifications that Schiller and Herder, for all their other insights, attempted to press upon him.  At the same time, Kant refused to allow the importance of the arousal of emotions for its own sake in tasteful aesthetic experience, and thus rejected this aspect of aesthetic experience that had been recognized by Baumgarten and Meier and analyzed in considerable detail by Mendelssohn.  So Kant’s synthesis of approaches to aesthetic experience was by no means complete.  It might then be expected that the history of aesthetics in the period immediately following Kant would have turned to the task of integrating emotional impact into a complex theory of aesthetic experience.  That is not what happened, however, as both Hegel and Schopenhauer developed different versions of purely cognitivist aesthetics, rejecting Kant’s theory of play, and downplayed the emotional impact of aesthetic experience even more than Kant had done. It would take the rest of the nineteenth century to integrate the three approaches to aesthetics that had been developed in the eighteenth century.