Metaphysics of the Music, part 17
Although Thomas’s metaphysical realism represents one of the historic antitheses to Kant’s idealism, as was noted in the previous post, at least a couple of scholars have discerned a limited congruity between Thomas’s and Kant’s approach to the question of aesthetic beauty. Umberto Eco, for example, in The Aesthetics of Thomas Aquinas, observes how the “intellectualism” and “purely contemplative attitude” found in the angelic doctor’s account of music “gives a justification to the disinterested contemplation of music independent of music’s effects or its function.” For Thomas, Eco claims,
it is not essential [for beauty] that form should assume a materially concrete existence—and if it did, its beauty would still be like that of a word which is thought or an act which is intended. What is essential to form is rather that it determines organic wholeness in things… [F]orm in its simplest and, it would seem, most worthy aspects is pure organic structure.
This formalism, however, represents only one half of an aporia that Eco locates at the heart of Thomas’s aesthetics, for if the bare “essence” of beauty can indeed be reduced to its mere form, it follows that
[e]verything other than this essential beauty is an extra richness—items arranged proportionately and constituents of the empirical fact of beauty… [I]n the last analysis these extra items increase the beauty and even determine how suitable it is for human experience… This distinction between beauty as a principle and beauty as a fact is found throughout Aquinas and is never completely resolved.
An important consequence of this apparent tension in Thomas’s aesthetics is the debate that has waged over whether Thomas’s aesthetics ultimately stresses the subjective or the objective side of beauty, along with the related debate over whether or not beauty for Thomas technically qualifies as a true, transcendental property of being.
 Eco, The Aesthetics of Thomas Aquinas, 134 (emphasis added). See also Ibid., 87. In related fashion, Robert Wood has suggested that, in “Aquinas’s view that sight is the most ‘spiritual’ of the sense because it is filled with the object [ST 1.78.3]… [v]ision thus provides a kind of anticipation of the objectivity of intellect and points in the direction taken by Kant’s emphasis on the ‘disinterested satisfaction’ involved in aesthetic perception.” Wood, Placing Aesthetics, 108.
 Eco, The Aesthetics of Thomas Aquinas, 87.
 Ibid., 88.
 On the question of the subjectivity versus the objectivity of Thomas’s aesthetics, Robert Delfino writes that the issue is “whether or not the perception of beauty is constitutive of beauty: Is beauty objective or subjective? Some scholars, Eco mentions Marc de Munnynck, have opted for the subjective interpretation. Eco and [Armand] Maurer answer that beauty is objective.” Delfino, “The Beauty of Wisdom: A Tribute to Armand Maurer,” 42. Liberato Santoro-Brienza points out that Thomas in fact defines beauty in both ways: when Thomas says in ST1.5.4 ad 1 that “beautiful things are those which please when seen,” “[t]his is an objective definition of beauty. The subject of the sentence is ‘the things’ that give pleasure when seen. The second definition is, in contrast, of a subjective character, focusing on the experiential side of the equation. ‘Let that be called beauty, the very apprehension of which pleases’ [ST1-2.27.1 ad 3]. Here, ‘apprehension’ is the subject of the sentence and is the cause of delight. If we seek the central ingredients of the mentioned definitions, we find that these are sight or vision (visio) and pleasure or delight (complacentia) in the first definition, and apprehension or sense perception (apprehension) and again pleasure or delight (complacentia), in the second definition.” Santoro-Brienza, “Art and Beauty in Antiquity and the Middle Ages,” 69. Rowan Williams, it may also be noted, has identified the same tension in Maritain’s interpretation of Aquinas’s aesthetics. Williams, Grace and Necessity: Reflections on Art and Love, 12-13.