The history of the censorship of the image goes back to the beginning of Christianity. According to Saint Agostine, the image ensures the symbolic order in which we unfaillingly believe, for belief is image itself: both are constituted by similar themes: memory, love and vision, or willingness. To him, the transcendental search is supported by the image, specially the image of an identifiable object; even when man worries in vain, he still walks on the image.

According to ECO, DUBY, LE GOFF, FOUCAULT, MALE, GUINSBURG, among others, after the Catholic Church’s definite establishment in the X century, it was influenced, until the XIV century, by several philosophical schools which link it both to Neoplatonism and to Aristotelism. Those particular schools determine different points of view on Theology and, consequently, on the Catholic esthetics. Several theologists are referred to as being responsible for a new theological way of viewing the world. According to Saint Agostine and his followers, Beauty was transcendental. To Saint Thomas, esthetics focuses both on Psychology and on Gnosiology, generating an esthetic view of the organism.

Therefore, we conclude that there are two kinds of metaphysical objectivism, according to which: 1- beauty is inherent to things and shines in such an objective way that man can neither determine it, nor hinder it; 2 - beauty, although a transcendental feature of the being, discloses itself in a relationship in which man focuses on the sub ratione pulchri object. This second kind of objectivism is based on Saint Thomas, who believed that every question asked should have a conclusive answer.

Aesthetical tradition in the Middle Ages develops a series of themes, such as the mathematical conception of Beauty, metaphysical aesthetics of light, a kind of psychology of vision, and an idea of form taken as splendor and reason for delight.

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