Abstract
A creative intuition lies latent within St. Thomas' theory of knowledge, one first explored in Jacques Maritain's Art and Scholasticism, and one whose patinas come to clearer prominence when juxtaposed with the work of Ludwig Wittgenstein. Though obviously not a Thomist, the latter helps to deliver us from the false dilemma of choosing between divine and human creativity. He also aids in bridging a divide between two potent versions of twentieth century Thomism: the conceptualism Maritain took from John of St. Thomas and the dynamic intellectualism of Joseph Maréchal's Thomism.
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