Karl Heinrich Heydenreich returns to a sounder tradition when he defines art (1790) as "a representation of a determinate state of sensibility," and observes that man, as a cognitive being, is impelled to enlarge the sphere of his cognitions and impart his discoveries to his fellows, while as a sensitive being he is impelled to represent and communicate his sensations; whence arise science and art. But Heydenreich does not clearly grasp the cognitive character of art; for in his opinion sensations become objects of artistic representation either because they are pleasing or, when not pleasing, because they are useful to further the moral aims of man as a social being; the objects of sensibility which enter into art must be possessed of intrinsic excellence and value and bear reference not to a single individual but to the individual as a rational being: hence the objectivity and necessity of taste. Like Baumgarten and Meier, he divides Æsthetic into three parts: a doctrine of _inventio,_ another of _methodica,_ a third of the _ars significandi_.[56] [Sidenote: J. G. Herder.] Another disciple of Baumgarten is J. G. Herder, who had an unbounded admiration for the old Berlin master, whom he calls "the Aristotle of his day," and defends him warmly against those who think fit to describe him as a "stupid and obtuse syllogizer" (1769). On the other hand he had slight esteem for subsequent Æsthetic, for example Meier's work, which he stigmatized accurately enough as "in part a re-mastication of Logic, in part a patchwork of metaphorical terms, comparisons and examples." "O Æsthetic!" he cries with emphasis, "O Æsthetic! the most fertile, the most beautiful and by far the most novel of all abstract sciences, in what cavern of the Muses is sleeping the youth of my philosophic nation destined to bring thee to perfection?"[57] He denied Baumgarten's claim to have established an _Ars pulchre cogitandi_ instead of limiting himself to a simple _Scientia de pulchro et pulchris philosophice cogitans,_ and ridiculed the scruple which held Æsthetic to be unworthy of the dignity of Philosophy.[58] To compensate for this, however, he accepted the fundamental definition cf poetry as _oratio sensitiva perfecta_: gem of definitions (says he), the best that has ever been invented, that penetrates to the heart of the matter, touches the true poetic principles and opens the most extended view over the entire philosophy of the beautiful, "coupling poetry with her sisters, the fine arts."[59] Like Cesarotti the Italian, but with much less vivacity and brilliance, Herder the German had studied primitive poetry, Ossian and the songs of ancient peoples, Shakespeare (1773), popular love-songs (1778), the spirit of Hebrew poetry (1782), and oriental poetry; these studies powerfully impressed upon his mind the sensitive nature of poetry. His friend Hamann (1762) had written these memorable words, which read like an extract from one of Vico's aphorisms: "Poetry is