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And the fifteenth century was an impassioned age, so ardent and serious in its pursuit of art that it consecrated everything with which art had to ad as a religious object.

Walter Pater

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Walter Pater
Age: 54 †
Born: 1839
Born: August 4
Died: 1894
Died: July 30
Art Critic
Art Historian
Critic
Essayist
Literary Critic
Novelist
Professor
Writer
Walter Horatio Pater
Objects
Serious
Fifteenth
Century
Consecrated
Religious
Impassioned
Age
Ardent
Art
Ads
Everything
Pursuit
Object

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Experience, already reduced to a group of impressions, is ringed round for each one of us by that thick wall of personality through which no real voice has ever pierced on its way to us, or from us to that which we can only conjecture to be without.
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To regard all things and principles of things as inconstant modes or fashions has more and more become the tendency of modern thought.
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What is important, then, is not that the critic should possess a correct abstract definition of beauty for the intellect, but a certain kind of temperament, the power of being deeply moved by the presence of beautiful objects.
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To the modern spirit nothing is, or can be rightly known, except relatively and under conditions.
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Not the fruit of experience, but experience itself, is the end.
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In truth, the legitimate contention is, not of one age or school of literary art against another, but of all successive schools alike, against the stupidity which is dead to the substance, and the vulgarity which is dead to form.
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The Renaissance of the fifteenth century was, in many things, great rather by what it designed then by what it achieved.
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To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life.
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Art comes to you proposing frankly to give nothing but the highest quality to your moments as they pass.
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At first sight experience seems to bury us under a flood of external objects, pressing upon us with a sharp and importunate reality, calling us out of ourselves in a thousand forms of action.
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No account of the Renaissance can be complete without some notice of the attempt made by certain Italian scholars of the fifteenth century to reconcile Christianity with the religion of ancient Greece.
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The various forms of intellectual activity which together make up the culture of an age, move for the most part from different starting-points, and by unconnected roads.
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Has nature connected itself together by no bond, allowed itself to be thus crippled, and split into the divine and human elements? Well! there are certain divine powers of a middle nature, through whom our aspirations are conveyed to the gods, and theirs to us. A celestial ladder, a ladder from heaven to earth.
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Many attempts have been made by writers on art and poetry to define beauty in the abstract, to express it in the most general terms, to find some universal formula for it.
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Of such wisdom, the poetic passion, the desire of beauty, the love of art for its own sake, has most. For art comes to you proposing frankly to give nothing but the highestquality toyourmomentsasthey pass,and simply for those moments'sake.
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That sense of a life in natural objects, which in most poetry is but a rhetorical artifice, was, then, in Wordsworth the assertion of what was for him almost literal fact.
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It is always hazardous to express what one has to say indirectly and allusively.
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All art constantly aspires towards the condition of music.
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All art constantly aspires to the condition of music....In its ideal, consummate moments, the end is not distinct from the means, the form from the matter, the subject from the expression they inhere in and completely saturate each other.
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How shall we pass most swiftly from point to point, and be present always at the focus where the greatest number of vital forces unite in their purest energy?
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