In the previous post I cited Leo Spitzer’s comment that Aquinas does not seem to have had “the Augustinian ear for world harmony, ascribing to music a holy character only insofar as it was an element of the liturgy; as an Aristotelian he ‘reflects’ the world as it is, rather than attempting to re-create it by forging it together into a unit.” If so, the alleged tone-deafness of St. Thomas in matters of metaphysics might be related to the general absence of an explicit aesthetics in Thomas’s thought. John Milbank, for example, observes on the one hand that “[j]ust because there was no aesthetics in Aquinas’s theological philosophy, the aesthetic is therein everywhere present,” while on the other hand suggesting that “the latency of fundamental beauty in Aquinas meant that it was also for him a blind spot: one could even say that Aquinas probably supposed his own theology to have more to do with abstract reason than was really the case. This blindness invited a later rationalistic reduction by nominalism and neo-scholasticism of the Patristic legacy in which he stood, and to resist this one indeed requires a more explicit aesthetics, conjoined to a more explicit poetics…” (Milbank, “Scholasticism, Modernism, and Modernity,” 670). Related to this is Francesca Aran Murphy’s observation that, unlike Franciscans such as St. Bonaventure, none of the Dominican scholastics, including Albert the Great and St. Thomas, ever explicitly listed beauty as a transcendental and therefore convertible property of being. On the other hand, Murphy points out that, “whilst both Albert and Thomas say little of beauty in the main body of their writings, they both succumb to its lure in their respective Commentaries on The Divine Names of Pseudo-Dionysus. In these texts, each of these writers speaks of the universal extent of beauty, and names God as its first cause. In The Divine Names, Dionysius defines the beautiful as one of the sources of being” (Murphy, Christ the Form of Beauty: A Study in Theology and Literature, 213). Also, as Milbank is concerned to show, Thomas’s aesthetic vision, however blurred by his intellectualism, was to his credit at least sufficiently clear to inspire, through the work of Jacques Maritain, the “more explicit poetics” of twentieth-century Catholic artists and writers such as David Jones, G.K. Chesterton, Flannery O’Connor, and J.R.R. Tolkien.