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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
Object
Objects
Serious
Fifteenth
Century
Consecrated
Religious
Impassioned
Age
Ardent
Art
Ads
Everything
Pursuit

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Product of a myriad various minds and contending tongues, compact of obscure and minute association, a language has its own abundant and often recondite laws, in the habitual and summary recognition of which scholarship consists.
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Great passions may give us a quickened sense of life, ecstasy and sorrow of love, the various forms of enthusiastic activity, disinterested or otherwise, which comes naturally to many of us.
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It is always hazardous to express what one has to say indirectly and allusively.
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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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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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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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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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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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A book, like a person, has its fortunes with one is lucky or unlucky in the precise moment of its falling in our way, and often by some happy accident counts with us for something more than its independent value.
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A sudden light transfigures a trivial thing, a weather-vane, a windmill, a winnowing flail, the dust in the barn door a moment - and the thing has vanished, because it was pure effect but it leaves a relish behind it, a longing that the accident may happen again.
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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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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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Every moment some form grows perfect in hand or face some tone on the hills or the sea is choicer than the rest some mood of passion or insight or intellectual excitement is irresistibly real and attractive for us - for that moment only.
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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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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 we have to do is to be forever curiously testing new opinions and courting new impressions.
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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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In a sense it might even be said that our failure is to form habits: for, after all, habit is relative to a stereotyped world, and meantime it is only the roughness of the eye that makes two persons, things, situations, seem alike.
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A very intimate sense of the expressiveness of outward things, which ponders, listens, penetrates, where the earlier, less developed consciousness passed lightly by, is an important element in the general temper of our modern poetry.
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All art does but consist in the removal of surplusage.
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