Shiningpeak is a portal to a various content, mostly a collection of articles and writings on topics such as religion, ethics, current events, politics, stupidity, modernity, antiquity, atheism, theism, etc, including lectures for the college level intro to philosophy class (phi 101). They include sections on logic, epistemology, metaphysics, ethics, politics, proofs of god, natural theology, ancient Greece, Plato, Socrates, Aristotle, Thomas Aquinas, Thomism, and more.
It is easy to find the five or six stanzas of this famous
medieval hymn, but not easy to find the longer version in one place, so I have
placed the 20 stanzas I have found online here for reference. The original
complete Latin title is the "Jubilus Rhythmicus de Nomine Jesu." and
has 48 stanzas. It is dated 1130 or 1140. Because of the length it is not found
in the Church's liturgy in full form, but three parts are broken out into
smaller hymns used in the Roman Breviary.
Jesu dulcis memoria,
Dans vera cordis gaudia,
Sed super mel et omnia
Ejus dulcis præsentia:
Nil canitur suavius,
Nil auditur jucundius,
Nil cogitatur dulcius,
Quam Jesus Dei Filius.
Jesu spes pœnitentibus,
Quam pius es petentibus!
Quam bonus te quærentibus!
Sed quid invenientibus!
Nec lingua vale dicere,
Nec littera exprimere,
Expertus potest credere,
Quid sit Jesum diligere.
Sis, Jesu, nostrum gaudium,
Qui es futurus praemium
Sit nostra in te gloria,
Per cuncta semper saecula.
Jesu Rex admirabilis,
Et Triumphator nobilis,
Mane nobiscum, Domine,
Nos tuo reple munere:
Pulsa noctis caligine
Tua pasce dulcedine.
Quando cor nostrum visitas,
Tunc lucet ei veritas,
Mundi vilescit vanitas,
Et intus fervet caritas.
Jesu, decus angelicum,
In aure dulce canticum,
In ore mel mirificum,
In corde nectar caelicum.
Qui te gustant, esuriunt,
Qui bibunt, adhuc sitiunt;
Nisi Iesum, quem diligunt.
O Jesu mi dulcissime,
Spes suspirantis animae!
Te quaerunt piae lacrimae,
Te clamor mentis intimae.
Mane nobiscum, Domine,
Et nos illustra lumine;
Pulsa mentis caligine,
Mundum reple dulcedine.
Jesu, flos Matris Virginis,
Amor nostrae dulcedinis,
Tibi laus, honor nominis,
Jesu, dulcedo cordium,
Fons vivus, lumen mentium,
Excedens omne gaudium
Et omne desiderium.
Jesum omnes agnoscite,
Amorem eius poscite;
Jesum ardenter quaerite,
Te nostra, Jesu, vox sonet,
Nostri te mores exprimant;
Te corda nostra diligant
Et nunc, et in perpetuum.
Cum Maria diluculo
Jesum quæram in tumulo ;
Cordis clamore querulo
Mente quæram, non oculo.
Jesus ad patrem rediit,
Cœleste regnum subiit :
Cor meum a me transiit,
Post Jesum simul abiit.
Jesum sequamur laudibus,
Votis, hymnis, et precibus,
Ut nos donet cœlestibus
Secum perfrui sedibus.
Dan nobis largus veniam
Amoris this copiam
Da nobis per presentiam
Tuam videre Florian.
Laude tibi nos pangimus,
Dilectus es qui Filius,
Quem Patris atque Spiritus
Splendor revelat inclitus.
Gloria Tibi, Domine,
Qui natus es de Virgine,
Cum Patre et Sancto Spiritu,
In sempirterna sæcula. Amen.
The Gregorian chant for each verse repeats as follows:
How could everything anyone ever knew about men and women just end up being lost? How
can a whole generation be raised without the slightest notion of why
women act the way they do toward men, or why men act the way they do
toward women? It is a sober question, and a sobering one. I think we all know the answer. The world has two stories to tell about this great mystery. The
new story is a story of revolt. In this story, there is no mystery to
explain. The past is a time of darkness and horror, which consists of
rapist men victimizing helpless women. The sexual revolution frees one
and all to enter into any form of contract for the exchange of
copulation rights as “he or she or xe or it” sees fit. No
one has any sexual roles. Instead, one has a “gender” which consists
of a set of preferences as to sexual dress and behavior, which each may
decide for oneself as one sees fit. On the other hand, same sex
attraction is genetically selected by Darwinian evolution to increase
fertility, and cannot be opposed or impeded. The male desire for many
female partners, including non-consenting ones like the Sabine Women in
Plutarch, on the other hand, has no Darwinian reproductive value. In
this story, only fools believe in true love. The sexual appetite is an
appetite to the slaked, and the satisfaction is had when the surface
appearances are met, and the genitalia stimulated. Sex is the
stimulation, not the sex act itself, so any of the fifty genders may
this story, consent is the only sacrosanct rule for determining
whether the exchange of sexual gratification takes place. All sex is
selfish. Love and childrearing play no part in any calculation. The
other story is old. The other story is a love story, where the men
seek love by pursuing, and the women seek love by alluring. In
this story, the man takes charge because bold men take charge, and the
woman plays coy and modest because that is what fair maidens do, for
only the bold deserve the fair. She
arranges obstacles for him, and dallies and flirts with coy and
amorous delay, teasing and tempting. She dare not be over-blunt, nor
rash and rushing to wed, for she cannot distinguish the frogs from the
princes without seeing some sign of princely valor and devotion. In
this story, sometimes a girl is demure, or plays hard to get, but at
other times she may be merely toying with his affection. Likewise
sometimes a boy is a cad and a flatterer, but sometimes he is
true-hearted. Each player in the masquerade goes threw the steps of the mating dance trying to discover which is which. And
sometimes a suitor who sees himself a cad when he thought himself
true, or a girl realizes she is a flirt when she thought herself coy,
because the emotion of infatuation, and the drive of lust, all too often
disguises itself as true love. And,
of course, in the love story, the man picks up the check and pays for
the show whereas the young lady’s contribution is too adorn herself to
look pretty and to be a gay and charming companion. The exchange is unfair, if by this we mean unequal. But,
by nature, the exchange cannot be equal: she is the one being pursued
and persuaded. Her task is to encourage the pursuit by the right sort
of guy. His is to pursue and persuade, and to convince himself and her
of his devotion, accomplishments, and worth. The
tactics for male and female cannot be the same because the goal for
each is different. If he is decent, what he wants is nubile, true and
faithful wife. Blame no man if, for him, lust seeks young and fertile
girls. By instinct, he seeks markers of youth and health, a curvaceous
body able to bear the travail of childrearing. Likewise,
If she is decent, what she wants is a virile, strong and faithful man.
Blame no woman if her lust seeks older, established men, one wealthy
enough to bear the cost of childrearing. Nature
demands different things from either parent. Hence, not the same
things. Hence they cannot be sought in the same way. Hence the wooer
and the wooed cannot won the complementary goals using tactics suited
to the other. When a man holds a woman in his arms on the ballroom floor, both dancers cannot lead. They dance as equals only when separated. While
dating, he picks up the check. After the wedding, she becomes wife and
mother and homemaker, and she gives all she has to give in life. If he
blenches at picking up a check on a date, how is he going to afford to
keep a wife? At
one time, many a boy at least knew the stereotyped expectations of the
elliptical and indirect reasoning of female psychology. He
might not understand the reason why girls were so illogical,
emotional, strange, fickle, and practical, but he knew to expect that. Likewise,
the girl might not understand why the boy was so pigheaded,
unemotional, honor-bound, arrogant, incorrigible, and idealistic, but
many a girl knew to brace herself for it. For
the record, female illogic is perfectly logical once the female
viewpoint is known, and male logic grows grossly superficial and
heartless without a female viewpoint to check it. In
truth, both sexes are not so different in their sins and virtues, but
the expressions and manifestation thereof differ wildly. Many of us used to know that. We knew men were men and women were women. We
used to know the world was round, and East was far from West. Now, in a
strange reverse of the old wives’ tale about Columbus, the children
think the world is flat. Someone
has taken all the experience and hard-earned lore of the ages, half
cynicism and half rose-colored glasses, which used to be carried in
jokes, ribaldry, love songs, novels, and plays and heart-to-heart
conversations with parents or older peers, telling the young about the
thrills and danger, the deceptions and sudden revelations, the whole
wild gamble of the heart known as the mating dance, and flushed it all
down the memory hole. I think we know which group in life is the culprit. Who
interprets all specialization of labor or traditional assignment of
roles and responsibilities as a sinister conspiracy to bewitch and
oppress the weak? Who regards women as ever in the weaker position? Who
sees everything in life, including affairs of the heart, through the
lens of a heartless Darwinian struggle between oppressor and oppressed? Who
pretends that liberty is found by leveling hedgerows, cutting the
brake lines, severing the safety belts, smashing traffic lights and
uprooting road signs, and in a word, abandoning common sense and common
decency? What sort of freedom is it to replace self-control with chaos? Yes,
it is now legal to speed down the highway and run red lights in the
wrong lane, so all are “free” in that respect. It is the freedom of
mere chaos: the freedom of a free for all. But
no one is free to walk away from the resulting wreckage of broken
hearts and broken homes unscathed, or to have friends and family
untouched by the predicted and predictable horrors of high rates of
perversion, infidelity, abortion, abandonment, divorce, child abuse
which flow from unchaining all sexual appetites, wholesome or grotesque. Nor
one is free to breathe the clear moral atmosphere of a society that
honors virginity, marriage, motherhood, childhood, romance, chivalry,
modesty, honesty, fidelity, because no such place exists, not in any
land modernism rules.
( From Just Thomism blog) Denying ”darwinian explanations of life” can mean two things.
1.) If you are denying the explanatory power of natural selection in
biology and various sciences subordinated to it, the denial is idiotic.
Few theories have the explanatory power of natural selection, and any
theory that replaces it will not be an outright denial but either (a) an
explanation of how various phenomena appear darwinian within some very
common constraints but are non-darwinian under abnormal conditions or
(b) a theory that includes selection as a large element in a richer
interpretive set of explanations.*
2.) If you are denying the explanatory power of natural selection in
abiogenesis, the denial is axiomatic. To an outsider like myself
abiogenesis looks like a backwater of research with a whole slough of
theories defended by mavericks from all sorts of different disciplines,
none of whom commands even a plurality of scientific consensus. Since we have no theory at all, much less a darwinian one, the ‘official position’ on abiogenesis can be explained in several ways.
a.) Life arose by chance. ”Chance” in this context means an
event that, while being relevant to the theory, was outside of any of
its predictions. This includes times when we have events with no real
theory at all, and the most familiar way in which this happens is the
“theory” that things form by molecules banging around and forming
things. Sure, if molecules just bang around and form X then, by
definition, you’ll have an X, but you wouldn’t have an explanation of
it. If you see a puddle of water forming underneath your furnace, you
explain its presence by, say, condensation or sabotage but not by
‘molecules banging around’. All “banging around” theory amounts to is
the claim that something somehow happened, which we know simply by
looking. But a theory has to add something to a blank, bovine stare at
the events of the world.
Notice that “by chance” and “improbable” are not only different but contrary. Improbable events have a calculable probability
and therefore exist in a theory whereas events that occur by chance,
even if they are improbable, are not calculated in advance. A royal
flush is improbable in a normal game of poker, but this improbability
can be strictly calculated. A chance event would be one that, strictly
speaking, has no odds of occurring since the theory cannot (or at least
did not) account for it in advance. This is where we are with
b.) Life is a mystery. A mystery in this sense is an wonderful or important cause that is known to be unknown. If calling an event by chance indicates that it is outside of a theory and is neither probable or improbable, calling it a mystery
indicates that we are interested in it or that finding it is important
to us, though we might view probing into it hubristic or irreverent.
c.) God caused life. God is the ultimate mystery in the
above sense, and so to the extent that nature is mysterious it will
inevitably suggest an analogue in divinity. This only gives rise to a
God in the gaps fallacy if we assume the mysteries of nature are
invariant or entirely given in advance while they are in fact
continually shifting. Things that were very mysterious at some times and
some places are not to us, and vice-versa. Some mysteries vanish and
new ones arise.
There are connections not just between God and mystery but also God
and chance. There is a long history of seeing God as uniquely at work in
the unforseeable. We spontaneously feel something divine in a stroke of
good luck, and some divine abandonment or chastisement in a stroke of
That said, we also know how to set chance and divinity against one
another. Divinity is the guarantee that intelligibility goes all the way
down, even if not for us; but chance can be taken as a denial of this
sort of intelligibility. The debate seems to be whether what is
unknowable to us, but real, must be knowable to another.
*As I understand “Intelligent Design”, this is the option they go for.
Below are some bullet points from "Just Thomism" that are thoughtful...
-For devoted Christians looking at their culture, sanity requires
remembering it is a Kingdom under the Prince of the World, where most
dance down the wide road to perdition.
-You’re not happy that most are damned, you’re just freed
from the burden of assuming some recent policy, court decision,
historical trend, influential school or philosopher or whatever sent us
down the road to perdition. It’s not the decline of civilization, it’s
just the world.
-...as with cultures – we assume we are
responsible for the evil that happened. Both are irrational attempts to
gain control of an evil that was mostly decided before we could do
anything to add or detract.
-Much engaging social commentary is a fascination with demonic creativity.
-Take heart, the world is just as God described it. To pull the yoke
with Christ is easy for anyone who wants to and the overwhelming
-The plan for saving society is what it’s always been: prayer, meditation, fasting, mortification, alms and works of mercy.
-If we were saved for doing more good than bad, almost everyone would
be. Relationships don’t work that way, though, but can be destroyed by
single acts no matter the antecedent goods. It would be a clueless
husband who thought that his giving his wife a house, money, security,
etc. meant she couldn’t blame him for a mistress.
-The case against the faith is always convincing and constantly needing to change.
(Rome, Feb 1, 1998, Faculty of Philosophy, Athenaeum Regina Apostolorum)
Anyone who has contemplated a masterpiece of art and felt that you could stay and gaze upon it for hours without tiring, or who has found real joy in a piece of music that seemed to elevate the soul, or found peace in the blazing symphony presented by nature in every sunset, knows that a textbook knowledge of beauty doesn’t seem to fully explain these aesthetic experiences.
What is beauty? How do we really know beauty? What are its characteristics? Is beauty really “in the eye of the beholder”, that is, only a feeling, each person choosing for himself what is beautiful? Or is it strictly objective, with known criteria?
These are some of the questions that moved me to choose this theme for my elaboratum. They pose the philosophical problem to be reflected on in this paper. The beautiful, in abstract, and in its concrete manifestations in the world around us, is intriguing to man and is one of the few things that really make a man stop and ponder a moment about something “higher” than his daily distractions.
In this study I have followed a simple outline, first introducing the beautiful and its definitions commonly stated, and its base in being. Then follows a part on our knowledge of beauty, both transcendental and perceivable, not that I wish to introduce a strict separation, but as a means to treat the theme with order. Perceivable should be understood as including sensible and intellectual beauty. I will cover a little both intuition and cognitive knowledge of beauty. Then follows an explanation of the aesthetic experience and knowledge, and some of the characteristics of a beautiful object. Then I go into a little more depth with respect to one of the means through which we know beauty, i.e., knowledge through connaturality, as mentioned byThomas Aquinas.
One of the interesting points that I found in this research was the lack of consensus among authors, not so much in the main doctrines, but in the finer shades of explaining them.This leaves room for one to explore and think with a sense of personal freedom perhaps a bit wider than in other themes.
My aim, what I hope to achieve, is to put together in one paper the path available to man to know the beauty of reality, transcendental, intellectual, and sensible. Thus although it is not within the scope of this paper to go into extreme depth on these aspects, it is not because the theme does not merit such in depth research, but is due to the extension of this work.
1. THE DEFINITION OF BEAUTY
1.1. Perceivable beauty
Our daily experience gives us ample evidence that there are many beings which strike us as beautiful, and equally so many that lack any sensible beauty. In order to determine what it is that makes certain beings beautiful and others less so, I think we can turn to the common explanation ofThomas Aquinas that the beautiful is, “id cuius apprehensio placet” or also, “quod visum placet”. The terms apprehensio and visum are to be taken in a broad sense as referring to seeing, perceiving or understanding.
In these definitions we see two aspects which reveal the nature of beauty: apprehension and pleasure. The first, apprehension, shows the relation of an object to the intellectual and cognitive faculties of man. This apprehension consists in a certain intuition of the external and internal senses, always united to the intellect. It is an immediate apprehension of a singular being by contact with the senses. From the sensible species formed, the intellect then abstracts the quiddity and forms the universal concept of the object. In summary this is what is meant by apprehension. It is not only of the exterior form of the object but also of the essence.
The two go together, the pleasure is to be understood as deriving from the knowing, there is an immediateness in it. We saw that this apprehension is accompanied by a certain pleasure in the act of perceiving the object. The apprehension of the object brings with it the joy in the same object. This is the relation of the object to the senses, both external and internal, and ultimately to the will which perceives the goodness of reality. Once the object is removed the pleasure ends and is replaced by desire for the object now absent. We see that the mere idea of the object in the mind is not sufficient to provoke this joy, it must be accompanied by the apprehension of the senses. Thus we can call these the two poles of detecting the beautiful, each one referring to the other: apprehension and pleasure, or ultimately, the object in relation to the intellect and to the will.
1.2. Transcendental beauty
The dialectic process of the idea of being reveals a gradual series of discoveries of the transcendental properties of being, from unum to verum to bonum. The oneness of being is found in the indivision of being, the truth and the good are both revealed in the relation of the intellect and the will with being. By integrating the concepts of true and good, seeing them united in relation to the intellect, we end the dialectic process of the idea of being in the beautiful. This relation to the intellect and will shows the roots of beauty in being, as one of the transcendental properties of being, convertible with being. In this level beings are beautiful precisely according to their existence, i.e., its act of being is beautiful in relation to the mind which constitutes the relative transcendental property of Beauty. Every being, in as much as it participates in the totality of being, is beautiful, since being as being is true and good and thus beautiful. The beautiful is the perfection and union of the transcendentals.
KNOWLEDGE OF BEAUTY
2.1. Intuition of beauty
We look again to the definition of beautiful byThomas Aquinas, “id cuius apprehensio placet”. By referring to the word apprehensio (as seeing, understanding, etc.)in the definition, the perception of beauty is put in the intellectual order, for no abstraction ends in the senses. But precisely with the word pleasure (including also gaudium of the mind) it is referred to the senses external or internal, as we mentioned before, not simply as the starting point but as a required presence accompanying the intellectual activity. The perception of the beautiful is a union of the spiritual and corporeal faculties. With our reasoning abilities we can see that all things that have being are beautiful, but this is a purely intelligible reasoning. What we actually see in daily life is that some beings are actually ugly to us. For us to see the beauty of all reality would require an intuitive manner of knowing, we would have to be able to perceive intellectually the essence of the object without abstraction - as angels do. But our intellect knows only discursively, by abstraction from the senses. Our intellectual activity is always universal, based on universal concepts of the reality around us. The only manner of intuition that we are capable of as souls united to the body is that of the senses. The senses apprehend by immediate contact with their object, they “know” by intuition, without mediation. Thus by including the word placet in the definition we can say that at least on the sensible level to perceive beauty requires intuition. The mind apprehends, but united to the senses. Therefore when it is stated that the participation of the senses is necessary during the entire time we are perceiving a beautiful object, and that the understand or seeing of the intellect is the bearer of this pleasure, this means that in the perception of beauty we approach intuitive knowledge.
2.2. Beauty and the cognitive sense
In the study of our manner of abstraction we see that in between the senses and the intellect are the internal senses. The highest of these is what we call the cognitive sense. Considered in relation to our knowing in general, the cognitive sense is as a bridge. It is a type of “intellect” because with it we decide and choose behavior in concrete circumstances, and it is “sense” because it is the sum of the sensible experience and always remains in the particular. This same faculty belongs to animals and is used by them to evaluate and appraise a given situation. In man the cognitive sense enables us to make the abstract concrete, and the universal particular. Uniting in this way the intellect and the senses, it is likened to the manifestation of being (esse) in action (agire). 
If we return then to what we said about the perception of beauty being the union of knowing by the intellect with the sensible or intellectual pleasure, it is easy to see why it is possible to basically attribute almost all the aesthetic activity of man to the cognitive sense as a specific and originating faculty. It is the place where the apprehensio and the placere co-penetrate each other.
2.3. The aesthetic experience
This aesthetic activity has its summit in the so-called aesthetic experience, the manner by which we attain the maximum cognitive harmony between subject and object. It is the experience of oneself and the object as being connatural one with the other, and more than connatural till one seems taken beyond to something higher. The object that provokes this is the beautiful. The intellect perceives the unity, truth, and goodness of an object which is present to it, but it is abstract knowledge. It perceives them by means of reflection on the idea of being and on its relation to reality. To truly “see” it we would need intuition. But in the intellectual apprehension of the beautiful, united to the intuition of the senses, we experience this intuition in as much as it is possible in this life, (although the possibility of intellectual intuition is disputable.) It is the most perfect knowledge possible to us as beings united to the body, for it complements abstraction. The senses and the intellect penetrate together; the senses become “knowing”, and the intellect “senses”.Once we are separated from the body after death all of our knowledge will be intuitive, and in this sense will be aesthetic, but this enters into the area of faith.
But we are not the only participant in creating this experience. The aesthetic experience, this co-penetration of the senses and the intellect, is provoked by the object contemplated. Beauty is not simply “in the eye of the beholder” if this is meant that it is solely determined by the subject. Thus the object must be such that it simultaneously pleases both the intellect and the senses, each one finding that which is connatural with it in the object, and that which is beyond its connaturality. The intellect looks for the order and takes pleasure in the order found in the object, an order of the form of the object, the mind grasping this form. This is the objective side of beauty. But the senses find their pleasure in the diverse external qualities, and this may differ from subject to subject, due to the variation to which the senses are subjected, giving beauty its subjective side.
Thus on the perceivable level the beautiful is found in an object in which the order occurs within the qualities that please the senses. (But also on the transcendental level beauty is not completely unperceivable, for nothing is so contingent that it doesn’t contain something of the absolute.) It is in this way that the beautiful differs from the good, by the addition of the truth of the object, and is thus called splendor veri or verum delectans.
Therefore the aesthetic knowledge, or aesthetic experience, whose object is the beautiful, and which is provoked in the subject by the object, reveals the connaturality that exists between the whole mind (intellect and will), and the whole of reality (being). Thus the subject becomes aware of his own unity when he becomes aware of his connaturality with the object.
At the same time the subject becomes aware of the truth and intelligibility of reality at a level that is fuller than abstract knowledge alone, since in perceiving the beautiful he “approaches” intuitive knowledge, or in our case as incarnated spirits, quasi intuitive.
It reveals also the goodness of reality because the aesthetic experience takes place in the presence of the object which provokes it, and creates desire for the presence of the object when it is removed or absent. Only in the presence of the beautiful is our connaturality with it revealed or confirmed. In the following numbers I will analyze this order and pleasurable qualities that belong to a beautiful object.
2.4. Characteristics of beauty
Thomas Aquinas describes the beautiful object as a fusion of three aspects: integrity or perfection, proportion, and clarity.
Integrity and perfection mean free from defects and mutilation, that the object has all the parts that normally belong to it, (or that it does not have parts that don’t belong). This integrity by itself does not make the object beautiful, and even in some cases a beautiful object or work of art could be lacking some perfection due to it and still be beautiful, if the lack is such that it doesn’t impede the mind from completing the image by using the imagination. Think of the Venus of Milo and other greek and roman statues, so many of which are missing parts previously in place. They lack integrity but they surely are not for this reason ugly. From this aspect of perfection and integrity belonging to the beautiful we get also the notion of the Ideal. That for which one strives for is the Ideal, conceived as the perfection of its nature, lacking nothing and thus worthy of imitation.
The proportion of the object means the equilibrium of the qualities and is often summed up in various subcategories such as symmetry referring to vision, harmony referring to audition, and rhythm referring to movement. All of these terms are then applied analogously to many objects, including the cosmos as a whole.
Lastly clarity is the third aspect. Clarity means a certain relation with light and thus with the sense of sight. What we perceive above all with our sense of sight, when there is proper illumination, is color, and the more light there is the brighter and more vivid the colors seem.
But the aspect of clarity refers not only to sight but also to the intellect. We often make the comparison of knowing with “seeing”. All intellection seeks to dispel confusion and make its object clearer, or “enlighten” the thinker. We could even say that the intellect is like an internal light, and indeed if we look to the philosophies of Aristotle and Thomas Aquinas we see that there is this aspect of light attributed to the intellect. It is what they called the intellectus agens which illuminates the sensible species and makes possible the passage of an object from the sensible to the intelligible. Therefore an object can also be said to have clarity if it is so ordered as to be easily intelligible.
These three aspects work together and are all interrelated among themselves within the unity of the object. They are also related to the form of the object from which they receive their existence. In this way it is seen that they have their ultimate root in the being of the object, as an essence composed of form and material. The sensible beauty has its base in the ontological beauty.
Cf. F. O’Farrell, Metafisica Generale, p. 91 :O’Farrell calls aesthetic knowledge the means to know the maximum extension of the transcendentales of unity, truth and goodness. The unity due to the connaturality; truth, because intuition is more perfect way of knowing than abstraction; and good, because the desire for a good that is absent is enough to verify its foundation in being. But refering to the beautiful he says that to perceive it by means of the aesthetic experience demands its presence.