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Pater wrote, "we may well catch at any exquisite passion, or any contribution to knowledge that seems by a lifted horizon to set the spirit free for a moment, or any stirring of the senses, or work of the artist's hands. Not to discriminate every moment some passionate attitude in those about us in the brilliancy of their gifts is, on this short day of frost and sun, to sleep before evening." The resulting "quickened, multiplied consciousness" counters our insecurity in the face of the flux. Moments of vision may come from simple natural effects, as Pater notes elsewhere in the book: "A sudden light transfigures a trivial thing, a weathervane, 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." Or they may come from "intellectual excitement", from philosophy, science and the arts. Here we should "be for ever testing new opinions, never acquiescing in a facile orthodoxy"; and of these, a passion for the arts, "a desire of beauty", has (in the summary of one of Pater's editors) "the greatest potential for staving off the sense of transience, because in the arts the perceptions of highly sensitive minds are already ordered; we are confronted with a reality already refined and we are able to reach the personality behind the work".
805:. Here and in other essays on ancient Greece Pater relates to Greek culture the romanticism-classicism dialectic which he had first explored in his essay 'Romanticism' (1876). "All through Greek history," he writes, "we may trace, in every sphere of activity of the Greek mind, the action of these two opposing tendencies, the centrifugal and centripetal. The centrifugal – the Ionian, the Asiatic tendency – flying from the centre, throwing itself forth in endless play of imagination, delighting in brightness and colour, in beautiful material, in changeful form everywhere, its restless versatility driving it towards the development of the individual": and "the centripetal tendency", drawing towards the centre, "maintaining the Dorian influence of a severe simplification everywhere, in society, in culture".
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598:
fully his characteristic charm." This was to be the first of a dozen or so "Imaginary
Portraits", a genre and term Pater could be said to have invented and in which he came to specialise. These are not so much stories – plotting is limited and dialogue absent – as psychological studies of fictional characters in historical settings, often personifications of new concepts at turning-points in the history of ideas or emotion. Some look forward, dealing with innovation in the visual arts and philosophy; others look back, dramatising neo-pagan themes. Many are veiled self-portraits exploring dark personal preoccupations.
1116:. Among these causes are, pre-eminently, original temperaments and types of mind; but Pater "did not confine himself to pairing off a work of art with a particular temperament. Having a particular temperament under review, he would ask what was the range of forms in which it might find expression. Some of the forms will be metaphysical doctrines, ethical systems, literary theories, religions, myths. Pater's scepticism led him to think that in themselves all such systems lack sense or meaning – until meaning is conferred upon them by their capacity to give expression to a particular temperament."
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909:, and two pieces that point to a revival in Pater's final years of his earlier interest in Gothic cathedrals, sparked by regular visits to northern Europe with his sisters. Charles Shadwell "in his younger days" had been "strikingly handsome, both in figure and feature", "with a face like those to be seen on the finer Attic coins"; he had been the unnamed inspiration of an unpublished early paper of Pater's, 'Diaphaneitè' (1864), a tribute to youthful beauty and intellect, the manuscript of which Pater gave to Shadwell. This piece Shadwell also included in
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whirlpool is still more rapid": a drift of perceptions, feelings, thoughts and memories, reduced to impressions "unstable, flickering, inconstant", "ringed round for each one of us by that thick wall of personality"; and "with the passage and dissolution of impressions... continual vanishing away, that strange, perpetual weaving and unweaving of ourselves". Because all is in flux, to get the most from life, we must learn to discriminate through "sharp and eager observation": for
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728:(1887). Here Pater's examination of the tensions between tradition and innovation, intellect and sensation, asceticism and aestheticism, social mores and amorality, becomes increasingly complex. Implied warnings against the pursuit of extremes in matters intellectual, aesthetic or sensual are unmistakable. The second portrait, 'Sebastian van Storck', a powerful critique of philosophical solipsism, has been described as Pater's most subtle psychological study.
1565:. Discussing one of a party steaming up the Nile, he says "Mr. Cecil Brown...was a young diplomatist from a Continental Embassy, a man slightly tainted with the Oxford manner, and erring upon the side of unnatural and inhuman refinement, but full of interesting talk and cultured thought...He chose Walter Pater for his travelling author, and sat all day, reserved but affable, under the awning, with his novel and his sketch-book upon a camp-stool beside him."
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1147:'s theory of the unique word and the only epithet," wrote Osbert Burdett, "Pater sought the sentence, and the sentence in relation to the paragraph, and the paragraph as a movement in the chapter. The numerous parentheses deliberately exchanged a quick flow of rhythm for pauses, for charming little eddies by the way." At the height of his powers as a writer, Pater discussed his principles of composition in the 1888 essay 'Style'.
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974:, Pater had disapproved of Wilde's distortion of Epicureanism: "A true Epicureanism aims at a complete though harmonious development of man's entire organism. To lose the moral sense therefore, for instance the sense of sin and righteousness, as Mr. Wilde's heroes are bent on doing so speedily, as completely as they can, is ... to become less complex, to pass from a higher to a lower degree of development."
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1071:; and Pater's influence can be traced in the subjective, stream-of-consciousness novels of the early 20th century. In literary criticism, Pater's emphasis on subjectivity and on the autonomy of the reader helped prepare the way for the revolutionary approaches to literary studies of the modern era. The Paterian sensibility is also apparent in the political philosophy of
421:, 1877), added to the third edition (1888), contains Pater's much-quoted maxim "All art constantly aspires towards the condition of music" (i.e. the arts seek to unify subject-matter and form, and music is the only art in which subject and form are seemingly one). The final paragraphs of the 1868 William Morris essay were reworked as the book's 'Conclusion'.
1143:, who also described Pater's method of composition: "So conscious was he of the modifications and additions which would supervene that he always wrote on ruled paper, leaving each alternate line blank." He would then make a fair copy and repeat the process, sometimes paying to have drafts printed, to judge their effect. "Unlike those who were caught by
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413:("probably still the most famous piece of writing about any picture in the world"); the Botticelli essay was the first in English on this painter, contributing to the revival of interest in him; while the Winckelmann essay explored a temperament with whom Pater felt a strong affinity. An essay on 'The School of
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Through such discrimination we may "get as many pulsations as possible into the given time": "To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life." Forming habits means failure on our part, for habit connotes the stereotypical. "While all melts under our feet,"
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noted that "Pater praises Plato for
Classic correctness, for a conservative centripetal impulse, against his own Heraclitean Romanticism," but "we do not believe him when he presents himself as a centripetal man". The volume, which also includes a sympathetic study of ancient Sparta ('Lacedaemon',
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This brief 'Conclusion' was to be Pater's most influential – and controversial – publication. It asserts that our physical lives are made up of scientific processes and elemental forces in perpetual motion, "renewed from moment to moment but parting sooner or later on their ways". In the mind "the
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Pater was much admired for his prose style, which he strove to make worthy of his aesthetic ideals, taking great pains and fastidiously correcting his work. He kept on his desk little squares of paper, each with its ideas, and shuffled them about attempting to form a sequence and pattern. "I have
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an evocative semi-autobiographical sketch titled 'Imaginary
Portraits 1. The Child in the House', about some of the formative experiences of his childhood – "a work", as Pater's earliest biographer put it, "which can be recommended to anyone unacquainted with Pater's writings, as exhibiting most
1370:, the first complete annotated edition. It prints Pater's latest revisions as the 'copy text', with earlier variants recorded in notes (the editors consider Pater a judicious reviser of his own work); and it includes periodical and academic articles left out of the 1901 and 1910
624:, Marius tests his author's theory of the stimulating effect of the pursuit of sensation and insight as an ideal in itself. The novel's opening and closing episodes betray Pater's continuing nostalgia for the atmosphere, ritual and community of the religious faith he had lost.
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and others. "The first step towards seeing one's object as it really is," Pater wrote, "is to know one's own impression, to discriminate it, to realise it distinctly. What is this song or picture, this engaging personality in life or in a book, to
762:, whose mystical, Baroque style Pater admired. The essay on Coleridge reprints 'Coleridge's Writings' (1866) but omits its explicitly anti-Christian passages; it adds paragraphs on Coleridge's poetry that Pater had contributed to T.H. Ward's
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his faith in
Christianity had been shaken. In spite of his inclination towards the ritual and aesthetic elements of the church, he had little interest in Christian doctrine and did not pursue ordination. After graduating, Pater remained in
612:, which Pater believed had parallels with his own century, he examines the "sensations and ideas" of a young Roman of integrity, who pursues an ideal of the "aesthetic" life – a life based on αἴσθησις, sensation, perception – tempered by
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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
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could be misconstrued as amoral, he withdrew the essay from the second edition in 1877 (he was to reinstate it with minor modifications in the third in 1888) and now set about clarifying and exemplifying his ideas through fiction.
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as "a precious toy for bibliomaniacs". It sold out in under an hour. "I quite love your child," wrote Emily Daniel to Pater, presenting him with a copy. Pater in reply expressed pleasure in seeing his child "so daintily attired".
441:, which appeared to some to endorse amorality and "hedonism", provoked criticism from conservative quarters, including disapproval from Pater's former tutor at Queen's College, from the chaplain at Brasenose College and from the
1103:(1873) and refined in his later writings. In the 'Preface', he argues initially for a subjective, relativist response to life, ideas, art, as opposed to the drier, more objective, somewhat moralistic criticism practised by
221:, Walter Pater was the second son of Richard Glode Pater, a physician who had moved to London in the early 19th century to practise medicine among the poor. Dr Pater died while Walter was an infant and the family moved to
905:, 1893) – the latter, like 'Denys L'Auxerrois', centering on a peculiarly Paterian preoccupation: the survival or reincarnation of pagan deities in the Christian era. Also included were Pater's last (unfinished) essay, on
601:
Planning a major work, Pater now resigned his teaching duties in 1882, though he retained his
Fellowship and the college rooms he had occupied since 1864, and made a research visit to Rome. In his philosophical novel
477:, who had attracted unfavorable attention as a result of his outspoken homosexuality and blasphemous verse, and who later became a novelist. Many of Pater's works focus on male beauty, friendship and love, either in a
754:, 1888) is a statement of his creed and methodology as a prose-writer, ending with the paradox "If style be the man, it will be in a real sense 'impersonal' ". The volume also includes an appraisal of the poems of
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1112:?" When we have formed our impressions we proceed to find "the power or forces" which produced them, the work's "virtue". "Pater moves, in other words, from effects to causes, which are his real interest," noted
1075:. Among ordinary readers, idealists have found, and always will find inspiration in his desire "to burn always with this hard, gemlike flame", in his pursuit of the "highest quality" in "moments as they pass."
639:, but though in many ways the strongest of the field, he withdrew from the competition, discouraged by continuing hostility in official quarters. In the wake of this disappointment but buoyed by the success of
942:, re-editing the seven chapters and editing the remaining six which Shadwell and Clara Pater had withheld as too unfinished. "Through the imaginary portrait of Gaston and Gaston's historical contemporaries –
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in his diary) "after the dreadful interview with Jowett. He became old, crushed, despairing – and this dreadful weight lasted for years; it was years before he realised that Jowett would not use them."
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In the early summer of 1894 'The Child in the House' was for the first time issued in book form, in a limited edition of 250 copies, "reprinted with loving care" by the Daniel Press of Oxford, as
355:– meant that Pater's preoccupations now multiplied. He became acutely interested in art and literature, and started to write articles and criticism. First to be printed was an essay on the
724:), 'Denys L'Auxerrois' (October 1886) (Dionysus and the medieval cathedral-builders), and 'Duke Carl of Rosenmold' (1887) (the German Enlightenment). These were collected in the volume
758:, first printed in 1883, a few months after Rossetti's death; 'Aesthetic Poetry', a revised version of the William Morris essay of 1868 minus its final paragraphs; and an essay on
250:, which helped inspire his lifelong attraction to the study of art and gave him a taste for well-crafted prose. He gained a school exhibition, with which he proceeded in 1858 to
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201:(1877), in which he outlined his approach to art and advocated an ideal of the intense inner life, was taken by many as a manifesto (whether stimulating or subversive) of
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782:(1890) he suppressed the essay 'Aesthetic Poetry' – further evidence of his growing cautiousness in response to establishment criticism. All subsequent reprints of
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called Pater's style "absolutely distinctive and entirely new", adding, however, that "it appeals, perhaps, more to the craftsman than to the ordinary reader." To
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W. Somerset
Maugham "The Magician" (1908) Pater's essay on the Mona Lisa is quoted by Oliver Haddo in his seduction of Margaret. (Penguin 1967 edition, pp 85–86)
565:
in 1866 and the two remained friends till
September 1879 when Hopkins left Oxford – and he was gaining respect in the London literary world and beyond. Through
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and played a role in convincing Pater to remove himself from consideration. A few months later Pater published what may have been a subtle riposte: 'A Study of
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930:, set in turbulent late 16th-century France, the product of the author's interest in French history, philosophy, literature, and art. Pater had conceived
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was favourably reviewed and sold well; a second edition came out in the same year. For the third edition (1892) Pater made extensive stylistic revisions.
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1766:
Rachel
Teukolsky, , II. Reception: branchcollective.org/?ps_articles=rachel-teukolsky-walter-paters-renaissance-1873-and-the-british-aesthetic-movement
1503:(chap. 1), Professor Gottlieb tells his medical students (in his accented English), "Before the next lab hour I shall be glad if you will read Pater's
4176:
1007:, was issued in 1901; it was reissued, in plainer form, as the Library Edition in 1910. Pater's works were frequently reprinted until the late 1920s.
897:. This volume contains 'The Child in the House' and another two obliquely self-revelatory Imaginary Portraits, 'Emerald Uthwart' (first published in
316:, of which she was one of the co-founders.) Pater's years of study and reading now paid dividends: he was offered a classical fellowship in 1864 at
240:
made an impression that would remain with him all his life. He was fourteen when his mother, Maria Pater, died in 1854. As a schoolboy Pater read
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473:, for a previously-promised proctorship. In the 1980s, letters emerged documenting a "romance" with a nineteen-year-old Balliol undergraduate,
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886:". In genre another "imaginary portrait", the sketch illustrates a paradox central to Pater's sensibility and writings: a leaning towards
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was struck by his potential and offered to give him private lessons. In Jowett's classes, however, Pater was a disappointment; he took a
1585:
Pater is referenced in Yukio
Mishima’s Forbidden Colors, page 21 in the Alfred Marks translation. First edition, Knopf, New York, 1968.
983:, edited by Gosse, a selection of Pater's anonymous 1886–1890 book-reviews from the journal also known as 'The Church Guardian', and an
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was to have been the second, while the third was to have been set in
England in the late 18th century. In 1995 Gerald Monsman published
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known writers of every degree, but never one to whom the act of composition was such a travail and an agony as it was to Pater," wrote
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as the first novel of "a trilogy of works of similar character dealing with the same problems, under altered historical conditions";
712:, each a study of misfits, men born out of their time, who bring disaster upon themselves – 'A Prince of Court Painters' (1885) (on
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Toward the end of his life Pater's writings were exercising a considerable influence. The principles of what would be known as the
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The opportunities for wider study and teaching at Oxford, combined with formative visits to the Continent – in 1865 he visited
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1974:
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Theory, hypothesis, beliefs depend a great deal on temperament; they are, so to speak, mere equivalents of temperament.
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As an undergraduate, Pater was a "reading man", with literary and philosophical interests beyond the prescribed texts.
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Pater's essays on Greek mythology, religion, art and literature. This volume contains a reverie on the boyhood of
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616:. Leaving behind the religion of his childhood, sampling one philosophy after another, becoming secretary to the
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were partly traceable to him, and his effect was particularly felt on one of the movement's leading proponents,
113:
962:– Pater's fantasia confronts and admonishes the Yellow Nineties, Oscar Wilde not least." In an 1891 review of
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on the strength of his ability to teach modern German philosophy, and he settled down to a university career.
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750:, a collection of previously-printed essays on literature. It was well received. 'Style' (reprinted from the
503:, depicting Pater as a typically effete English aesthete. The satire appeared during the competition for the
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786:("to the dismay of every reader since 1890", as Gerald Monsman put it) have followed the second edition.
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720:), 'Sebastian van Storck' (March 1886) (17th-century Dutch society and painting, and the philosophy of
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511:' the outsider-god, persecuted for his new religion of ecstasy, who vanquishes the forces of reaction (
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370:
251:
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2345:, 3d ed.: 2 (Kindle Locations 36375-36376). McFarland & Company, Inc., Publishers. Kindle Edition.
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condemned it as "quite poisonous in its false principles of criticism and false conceptions of life".
193:, and fiction writer, regarded as one of the great stylists. His first and most often reprinted book,
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In 1874 Pater was turned down at the last moment by his erstwhile mentor Benjamin Jowett, Master of
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820:," writes Anthony Ward, "is one from a sense of defeat in scepticism to a sense of triumph in it."
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1155:, Pater's prose, serene and contemplative in tone, suggested a "vast attempt at impartiality."
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and prose (the author has made this volume available in a free, open-access, PDF version).
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beauty apprehended sensuously. The volume also reprints Pater's 1876 'Study of Dionysus'.
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8:
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913:. Shadwell had accompanied Pater on his 1865 visit to Italy, and Pater was to dedicate
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On 30 July 1894, Pater died suddenly in his Oxford home of heart failure brought on by
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2811:"Estrangement and Connection: Walter Pater, Benjamin Jowett, and William M. Hardinge"
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George Eliot, letter to John Blackwood, 5 November 1873, quoted in Denis Donoghue's
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Brasenose College, Oxford (centre). Pater's rooms were on the upper floor above the
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were privately printed in 1896 and 1903 respectively (the latter was republished as
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Pater was now at the centre of a small but gifted circle in Oxford – he had tutored
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In the same year Shadwell assembled other uncollected pieces and published them as
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in New York City, addressed to George Moore, Arthur Symons, John Lane and others.
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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In 1896 Shadwell edited and published seven chapters of Pater's unfinished novel
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Inman, Billie Andrew (1991b), "Pater's Letters at the Pierpont Morgan Library",
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Edmund Gosse, 'Walter Pater: A Portrait' (September 1894), reprinted in Gosse's
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381:' (1868), expressing his admiration for romanticism. In the following years the
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In 1893 Pater and his sisters returned to Oxford (64 St Giles, now the site of
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Blue plaque to Walter & Clara Pater on their home in Bradmore Road, Oxford
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2857:, Cambridge Studies in Nineteenth-Century Literature and Culture, Cambridge,
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766:(1880). When he reworked his 1876 essay 'Romanticism' as the 'Postscript' to
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In 1885, on the resignation of John Ruskin, Pater became a candidate for the
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585:. Conscious of his growing influence and aware that the 'Conclusion' to his
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3072:, a 500 pp scholarly volume situating Pater among the Victorian writers of
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to derife from it the calmness which iss the secret of laboratory skill."
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581:. He was an early friend and supporter of the young pre-Raphaelite painter
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312:, a pioneer of women's education, later taught ancient Greek and Latin at
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399:(1871). The last three, with other similar pieces, were collected in his
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Pater, with several of his colleagues, appears as a minor character in
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485:, had passed the Pater-Hardinge letters to Jowett, who summoned Pater:
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mentions Pater twice as a contrast to common English usage in Britain.
801:). He was now in demand as a lecturer. In this year appeared his book
770:, Pater removed its references to Baudelaire (now associated with the
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277:, Germany, during the vacations, he learned German and began to read
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1898:, Lucey, Michael (transl.), Duke University Press, pp. 159–79,
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and taught Classics and Philosophy to private students. (His sister
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Resting Places: The Burial Sites of More Than 14,000 Famous Persons
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in 1889), which has been called "the finest prose ever inspired by
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From 1885 to 1887, Pater published four new imaginary portraits in
655:, Kensington), where he was to live (outside term-time) till 1893.
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Pater, Walter, explanatory footnote in reinstated 'Conclusion' to
1969:. Stroud, Gloucestershire, UK: The History Press. pp. 96–97.
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poked gentle fun at Pater's ideas in his poem "The Gemlike Flame".
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are quoted among the sixth formers in Julian Mitchell's 1982 play
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way or, obliquely, in a more physical way. Another undergraduate,
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were among his early favourites. Visiting his aunt and sisters in
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363:, 'Coleridge's Writings', contributed anonymously in 1866 to the
352:
214:
59:
2535:
Laurel Brake, 'Pater the Journalist: Essays from The Guardian',
407:. The Leonardo essay contains Pater's celebrated reverie on the
3776:
3754:
3684:
3662:
2062:
Secreted Desires: The Major Uranians - Hopkins, Pater and Wilde
810:
1892), was praised by Jowett. "The change that occurs between
518:
456:
305:
295:
in 1862. As a boy Pater had cherished the idea of entering the
76:
3068:
Secreted Desires: The Major Uranians: Hopkins, Pater and Wilde
1090:', discussed by Pater in 'The Age of Athletic Prizemen' (1894)
608:(1885), an extended imaginary portrait set in the Rome of the
497:
In 1876 Mallock parodied Pater's message in a satirical novel
3549:
3145:
373:(1867), an early expression of his intellectual and artistic
278:
3034:
1653:
1216:. Includes several essays in their original periodical form.
3770:
3744:
3066:
1358:
The Pater family tree, from Thomas Wright's biography, 1907
348:
2974:. Abstract: discusses six letters of Walter Pater at the
1222:
The Renaissance – Studies in Art and Poetry; the 1893 text
3739:
1374:, Pater's Letters, and unpublished manuscript material.
1099:
Pater's critical method was outlined in the 'Preface' to
377:, appeared in the same review, followed by 'The Poems of
3142:
Literary Architecture by Ellen Eve Frank, pp. 15–49
2319:
The Collected Works of Walter Pater: Imaginary Portraits
2271:
1676:
The Collected Works of Walter Pater: Imaginary Portraits
1616:
The Collected Works of Walter Pater: Imaginary Portraits
185:(4 August 1839 – 30 July 1894) was an English essayist,
2331:
Pater's grave in Holywell Cemetery, Oxford, before 1907
1990:
Monsman, Gerald (1974), "Pater, Hopkins and the self",
1701:"The Aesthetic Movement: Walter Pater on the Mona Lisa"
1298:——— (2010), Beaumont, Matthew (ed.),
917:
to him and to write a preface to Shadwell's edition of
489:"Pater's whole nature changed under the strain" (wrote
1833:
3956:
The Work of Art in the Age of Mechanical Reproduction
2313:
2311:
2301:
Henry Daniel in the Daniels' 1894 limited edition of
2194:
Walter Pater: 'Imaginary Portraits': a new collection
1292:, Greensboro: ELT Press; University of North Carolina
1288:——— (1995), Monsman, Gerald (ed.),
1183:——— (1970), Evans, Lawrence (ed.),
2561:
2559:
2257:
2255:
2227:
1877:
1875:
1873:
1735:
1681:
1220:——— (1980), Hill, Donald L (ed.),
545:) between 1869 and 1885 with his sisters, including
2681:Higgins, Lesley, and Latham, David (general eds.),
2599:Gosse, Edmund (1896) , "Walter Pater: A Portrait",
2321:(Oxford, 2019), appendix on the 1894 Daniel edition
2283:
2264:
Introduction to 'Selected Writings' of Walter Pater
2161:
1723:
1460:(1890) incessantly and willfully misquotes Pater's
1027:(1891). Among art critics influenced by Pater were
2580:
2362:, Our Debt to Greece and Rome, London, p. 172
2308:
1561:uses Pater as a cultural marker in his 1898 novel
1262:, Oxford: World's Classics (facsimile of the 1934
4237:People associated with Somerville College, Oxford
2920:A Bibliography of the Writings of Walter H. Pater
2569:(22 September 1978), "The Artistic Temperament",
2556:
2252:
1870:
862:In 1895, a friend and former student of Pater's,
778:'s name in their place. In the second edition of
403:(1873), renamed in the second and later editions
4232:Founders of colleges of the University of Oxford
4222:Writers from the London Borough of Tower Hamlets
4152:People educated at The King's School, Canterbury
4123:
3058:Oscar Wilde and Walter Pater (mr-oscar-wilde.de)
1258:——— (1986), Small, Ian (ed.),
229:and was individually tutored by the headmaster.
1226:. An annotated edition of Pater's revised text.
16:English writer, critic and essayist (1839–1894)
1960:
1958:
1956:
1266:edition text, with new introduction and notes)
1165:Pater, Walter (1964), Brzenk, Eugene J (ed.),
3161:
2433:(London, 1907), Vol.1 p.218; Levey, Michael,
3886:The Literary Mind and the Carving of Dragons
3107:"Archival material relating to Walter Pater"
2517:Pater, Walter, "A Novel by Mr Oscar Wilde",
2158:, ed. Ian Small (Oxford, 1986), Textual Note
1670:
1668:
1406:Vol. V. Studies and Reviews, 1864–1889 ( — )
698:(1894), re-bound for the Library in 1916 by
2959:English Literature in Transition, 1880–1920
2537:English Literature in Transition, 1880-1920
2387:
1953:
3168:
3154:
3129:
3115:
2941:: CS1 maint: location missing publisher (
2908:: CS1 maint: location missing publisher (
2876:: CS1 maint: location missing publisher (
2666:
2638:: CS1 maint: location missing publisher (
2372:: CS1 maint: location missing publisher (
2075:The Renaissance: Studies in Art and Poetry
2019:: CS1 maint: location missing publisher (
2007:Walter Pater: An imaginative Sense of Fact
1948:Walter Pater: An Imaginative Sense of Fact
1931:Walter Pater: An Imaginative Sense of Fact
1790:: CS1 maint: location missing publisher (
1630:A History of the King's School, Canterbury
1475:is praised as a "wonderful new volume" in
878:, 'Hippolytus Veiled' (first published in
662:Walter Pater lived with his sisters at 12
405:The Renaissance: Studies in Art and Poetry
281:and the German philosophers. The scholar
199:The Renaissance: Studies in Art and Poetry
31:
4157:People educated at Enfield Grammar School
1808:Studies in the History of the Renaissance
1778:Studies in the History of the Renaissance
1665:
1321:. An annotated edition of the 1873 text.
1300:Studies in the History of the Renaissance
401:Studies in the History of the Renaissance
195:Studies in the History of the Renaissance
2838:(biography), London: Thames & Hudson
2767:
2565:
2508:(Greensboro, 1995), dustjacket quotation
1353:
1341:
1329:
1077:
685:
673:
657:
651:), their home since 1869, to London (12
552:
528:
334:
3036:Oxford Dictionary of National Biography
2732:The Reception of Walter Pater in Europe
2521:, 1, Nov. 1891, pp.59–60; reprinted in
1989:
1642:
1640:
1627:
1553:The Adventures of Mao on the Long March
1510:Lines from the "Conclusion" to Pater's
901:in 1892) and 'Apollo in Picardy' (from
4124:
3080:"Pater's Grave at Holywell Cemetery",
3064:
2956:
2926:
2917:
2884:
2852:
2739:
2539:, ELT Press, Volume 56, Number 4, 2013
2528:
2469:(Oxford, 1970), letter 28 January 1886
2446:
2277:
2261:
1950:, ed. Philip Dodd (London, 1981), p.48
1933:, ed. Philip Dodd (London, 1981), p.48
1893:
1887:
1687:
1396:, ed. Ostermark-Johansen, Lene (2019)
323:
4177:Alumni of the Queen's College, Oxford
3149:
2843:
2830:
2808:
2795:
2780:
2754:
2698:(Greensboro, 1995), Introduction p.xl
2598:
2354:
2233:
2167:
2132:(New Haven, 1980), p.7, p.28, p.68-78
2064:(Masaryk University, Brno, 2006) p.82
1896:Insult and the Making of the Gay Self
1881:
1839:
1827:
1775:
1741:
1729:
1659:
1413:; Studies and Reviews 1890–1895 ( — )
1325:
1297:
1287:
1271:
1257:
1243:
1229:
1219:
1201:
1182:
1167:Imaginary Portraits: a new collection
1164:
839:, at the age of 54. He was buried at
748:Appreciations, with an Essay on Style
4207:Fellows of Brasenose College, Oxford
2893:
2784:(1896), "Walter Pater: A Portrait",
2773:Walter Pater: Lover of Strange Souls
2726:
2710:The Fireside Book of Humorous Poetry
2707:
2586:
2289:
2205:
2004:
1964:
1865:Walter Pater: Lover of Strange Souls
1806:Pater, Walter, "Joachim du Bellay",
1776:Pater, Walter (1873), "Conclusion",
1637:
1003:and including all but the pieces in
593:To this end he published in 1878 in
4172:Alumni of Brasenose College, Oxford
2988:Works by Walter Pater in eBook form
2613:
2549:Seiler, R. M. (ed.), Walter Pater:
2247:Walter Pater's Art of Autobiography
2222:Walter Pater's Art of Autobiography
2181:Walter Pater: The Critical Heritage
2130:Walter Pater's Art of Autobiography
2117:Walter Pater's Art of Autobiography
1755:Walter Pater's Art of Autobiography
1043:: among early literary Modernists,
13:
2951:
2696:Gaston de Latour: The Revised Text
2523:Walter Pater: Sketches and Reviews
2506:Gaston de Latour: The Revised Text
2493:Gaston de Latour: The Revised Text
1536:Pater is the subject of a poem by
1290:Gaston de Latour: The Revised Text
1158:
1094:
940:Gaston de Latour: The Revised Text
369:. A few months later his essay on
328:
37:Pater in the 1890s (photograph by
14:
4258:
3127:National Portrait Gallery, London
3123:Portraits of Walter Horatio Pater
2981:
1820:
1805:
702:(1862–1952) with her cover-design
643:, he moved with his sisters from
557:Plaque at 2 Bradmore Road, Oxford
549:, a pioneer of women's education.
339:Pater as a young don at Brasenose
4242:19th-century English LGBT people
4167:19th-century British journalists
4104:
3065:Kaylor, Michael Matthew (2006),
3022:
2896:Walter Pater: The Idea in Nature
1540:titled "The Great Walter Pater".
1445:
1366:began publishing its ten-volume
1302:, Oxford World's Classics, OUP,
1224:, University of California Press
920:The Purgatory of Dante Alighieri
866:, a Fellow and later Provost of
2846:Papers Critical and Reminiscent
2760:Walter Pater the Scholar Artist
2712:. New York: Simon and Schuster.
2701:
2688:
2683:Collected Works of Walter Pater
2675:
2669:The Victorian Age in Literature
2660:
2647:
2607:
2592:
2543:
2511:
2498:
2485:
2472:
2459:
2440:
2423:
2405:
2381:
2348:
2335:
2324:
2295:
2239:
2214:
2199:
2186:
2173:
2148:
2135:
2122:
2109:
2096:
2080:
2067:
2054:
2041:
2028:
1998:
1983:
1936:
1911:
1857:
1845:
1814:
1799:
1769:
1760:
1747:
1603:Walter Pater: Selected Writings
1368:Collected Works of Walter Pater
1272:——— (1994) ,
1230:——— (1982) ,
633:Slade Professorship of Fine Art
4162:19th-century English novelists
3175:
3100:, UK: Oxfordshire blue plaques
3006:Works by or about Walter Pater
2887:Walter Pater: A Critical Study
2317:Ostermark-Johansen, L. (ed.),
2262:Pater, Walter; Bloom, Harold,
2077:(3rd and subsequent editions)
1693:
1674:Ostermark-Johansen, L. (ed.),
1621:
1614:Ostermark-Johansen, L. (ed.),
1608:
1595:
1427:, ed. Potolsky, Matthew (2020)
1244:——— (1983),
1202:——— (1973),
505:Oxford Professorship of Poetry
1:
3044:"Walter Pater: An Overview",
2809:Inman, Billie Andrew (1991),
2572:The Times Literary Supplement
1965:Warr, Elizabeth Jean (2011).
1648:Selected Essays: First Series
1588:
1454:Wilde's Lord Henry Wotton in
1023:, who paid tribute to him in
870:, collected and published as
541:(the right-hand house with a
234:The King's School, Canterbury
208:
4227:Burials at Holywell Cemetery
4016:Aestheticization of politics
2667:Chesterton, GK (1913), "1",
2553:(London, 1980), Introduction
2183:(London, 1980), p.163; p.171
1403:, ed. Monsman, Gerald (2019)
1208:Essays on Literature and Art
1010:
858:and other posthumous volumes
62:, London, Middlesex, England
7:
3021:(public domain audiobooks)
2708:Cole, William, ed. (1959).
2400:(portrait), Odyssée theater
2360:Euripides and his Influence
1434:, ed. Seiler, Robert (2023)
114:The Queen's College, Oxford
10:
4263:
2853:Shuter, William F (1997),
2720:
2305:('The Child in the House')
2206:Dodd, Philip, ed. (1977),
1563:The Tragedy of the Korosko
1457:The Picture of Dorian Gray
965:The Picture of Dorian Gray
236:, where the beauty of the
97:Academic, essayist, writer
4084:
4008:
3857:
3630:
3337:
3249:
3183:
2192:Brzenk, Eugene J. (ed.),
2060:Kaylor, Michael Matthew,
1929:, 73, 1 September 1905);
1547:are sprinkled throughout
1496:at the end of Chapter 41.
864:Charles Lancelot Shadwell
666:, Kensington (house with
165:
148:
138:
119:
109:
101:
93:
83:
66:
46:
30:
23:
4197:English literary critics
4182:British male journalists
3138:Leeds University Library
2929:The Life of Walter Pater
2836:The Case of Walter Pater
2480:The Case of Walter Pater
2435:The Case of Walter Pater
2431:The Life of Walter Pater
2389:Rothenstein, Sir William
2224:(New Haven, 1980), p.154
2049:The Case of Walter Pater
2036:The Case of Walter Pater
1946:, 73, 1 September 1905;
1757:(New Haven, 1980), p.140
1650:(London, 1928), pp.27-58
1488:Pater is referred to in
1133:
746:In 1889 Pater published
670:) between 1885 and 1893.
533:Walter Pater lived at 2
449:, reviewing the book in
4036:Evolutionary aesthetics
3986:The Aesthetic Dimension
2976:Pierpont Morgan Library
2927:Wright, Thomas (1907),
2889:, London: Martin Secker
2885:Thomas, Edward (1913),
2467:Letters of Walter Pater
2465:Evans, Lawrence (ed.),
2119:(New Haven, 1980), p.26
1967:The Oxford Plaque Guide
1894:Eribon, Didier (2004),
1543:Citations from Pater's
1364:Oxford University Press
999:, with two volumes for
252:Queen's College, Oxford
232:In 1853 he was sent to
4202:English male novelists
3966:Avant-Garde and Kitsch
3916:Lectures on Aesthetics
2894:Ward, Anthony (1966),
2855:Rereading Walter Pater
2575:(review), p. 1045
2196:(New York, 1964), p.12
1867:(New York, 1995), p.58
1678:(Oxford, 2019), p.xlii
1359:
1351:
1350:, Oxford (before 1907)
1339:
1175:The Fortnightly Review
1131:
1091:
795:permanent private hall
756:Dante Gabriel Rossetti
703:
683:
671:
579:Dante Gabriel Rossetti
558:
550:
513:The Fortnightly Review
495:
475:William Money Hardinge
432:
387:printed his essays on
340:
227:Enfield Grammar School
4111:Philosophy portal
3136:Archival material at
3015:Works by Walter Pater
2997:Works by Walter Pater
2657:(London, 1906), p.115
2551:The Critical Heritage
2482:(London, 1978), p.190
2437:(London, 1978), p.102
2303:An Imaginary Portrait
2179:Seiler, R. M. (ed.),
2106:(London, 1906), p.122
2005:Dodd, Philip (1981),
1917:Information given by
1573:The American Language
1530:The Invention of Love
1505:Marius the Epicurean,
1357:
1345:
1333:
1187:, Oxford: Clarendon,
1118:
1081:
997:Works of Walter Pater
911:Miscellaneous Studies
895:Miscellaneous Studies
852:Miscellaneous Studies
825:An Imaginary Portrait
741:An Imaginary Portrait
696:An Imaginary Portrait
689:
677:
661:
563:Gerard Manley Hopkins
556:
532:
487:
427:
338:
174:University of Glasgow
4142:People from Shadwell
4056:Philosophy of design
3936:In Praise of Shadows
3926:The Critic as Artist
3111:UK National Archives
2734:, Thoemmes Continuum
2685:, Voll. III., p.xiii
2622:Marius the Epicurean
2156:Marius the Epicurean
2143:Marius the Epicurean
2093:(London, 1906), p.79
2038:(London 1978), p.112
1852:Blackwood's Magazine
1628:Edwards, DL (1957),
1618:(Oxford, 2019), p.31
1605:(London, 1949), p.11
1499:In Sinclair Lewis's
1482:The Age of Innocence
1387:Marius the Epicurean
1282:, Middlesex: Penguin
1279:Marius the Epicurean
1260:Marius the Epicurean
1126:Marius the Epicurean
1025:The Critic as Artist
989:Sketches and Reviews
880:Macmillan's Magazine
799:University of Oxford
709:Macmillan's Magazine
605:Marius the Epicurean
595:Macmillan's Magazine
569:he met figures like
520:Marius the Epicurean
452:Blackwood's Magazine
183:Walter Horatio Pater
158:Marius the Epicurean
4247:English gay writers
4217:Victorian novelists
4187:English art critics
4147:People from Stepney
4066:Philosophy of music
4041:Mathematical beauty
2803:, London: Duckworth
2788:, London: Heinemann
2747:, London: Macmillan
1490:W. Somerset Maugham
1485:, set in the 1870s.
1418:Plato and Platonism
1394:Imaginary Portraits
1252:, NY: Chelsea House
1250:Plato and Platonism
1173:"An English Poet",
827:, and described by
818:Plato and Platonism
803:Plato and Platonism
737:Plato and Platonism
726:Imaginary Portraits
718:Jean-Baptiste Pater
524:Imaginary Portraits
455:, dismissed it as "
324:Career and writings
197:(1873), revised as
4061:Philosophy of film
4051:Patterns in nature
4021:Applied aesthetics
3996:Why Beauty Matters
3782:Life imitating art
3643:Art for art's sake
2918:Wright, S (1975),
2844:Sharp, W. (1912),
2818:Pater in the 1990s
2801:The Last Romantics
2495:(Greensboro, 1995)
2418:, 14 February 1919
2398:(lithograph; JPEG)
1559:Arthur Conan Doyle
1360:
1352:
1340:
1326:The 'Oxford' Pater
1264:Everyman's Library
1092:
1017:Aesthetic Movement
1005:Uncollected Essays
985:Uncollected Essays
752:Fortnightly Review
704:
684:
672:
575:William Bell Scott
559:
551:
419:Fortnightly Review
384:Fortnightly Review
366:Westminster Review
341:
314:Somerville College
292:Literae Humaniores
225:. Walter attended
129:literary criticism
4192:English essayists
4119:
4118:
4071:Psychology of art
3946:Art as Experience
3001:Project Gutenberg
2786:Critical Kit-Kats
2775:, New York: Knopf
2694:Monsman, Gerald,
2614:Burdett, Osbert,
2601:Critical Kit-Kats
2567:Wollheim, Richard
2504:Monsman, Gerald,
2491:Monsman, Gerald,
2280:, p. II.165.
2249:(New Haven, 1980)
2245:Monsman, Gerald,
2220:Monsman, Gerald,
2128:Monsman, Gerald,
2115:Monsman, Gerald,
1976:978-0-7524-5687-4
1842:, pp. 142–3.
1821:Uglow, Jennifer,
1753:Monsman, Gerald,
1425:Classical Studies
1348:Holywell Cemetery
1346:Pater's grave in
1309:978-0-19-953507-1
1236:Selected Writings
1073:Michael Oakeshott
903:Harper's Magazine
841:Holywell Cemetery
772:Decadent Movement
764:The English Poets
637:Oxford University
447:Margaret Oliphant
393:Sandro Botticelli
389:Leonardo da Vinci
180:
179:
139:Literary movement
88:Holywell Cemetery
39:Elliott & Fry
4254:
4109:
4108:
4107:
4001:
3991:
3981:
3971:
3961:
3951:
3941:
3931:
3921:
3911:
3901:
3891:
3881:
3871:
3170:
3163:
3156:
3147:
3146:
3133:
3119:
3114:
3101:
3090:
3088:
3071:
3061:
3051:
3039:
3026:
3025:
3010:Internet Archive
2973:
2946:
2940:
2932:
2922:
2913:
2907:
2899:
2890:
2881:
2875:
2867:
2848:
2839:
2827:
2826:
2824:
2815:
2804:
2789:
2776:
2763:
2748:
2735:
2714:
2713:
2705:
2699:
2692:
2686:
2679:
2673:
2671:
2664:
2658:
2651:
2645:
2643:
2637:
2629:
2626:Everyman Library
2618:
2611:
2605:
2603:
2596:
2590:
2584:
2578:
2576:
2563:
2554:
2547:
2541:
2532:
2526:
2515:
2509:
2502:
2496:
2489:
2483:
2478:Levey, Michael,
2476:
2470:
2463:
2457:
2455:
2444:
2438:
2429:Wright, Thomas,
2427:
2421:
2419:
2409:
2403:
2401:
2399:
2385:
2379:
2377:
2371:
2363:
2352:
2346:
2339:
2333:
2328:
2322:
2315:
2306:
2299:
2293:
2287:
2281:
2275:
2269:
2267:
2259:
2250:
2243:
2237:
2231:
2225:
2218:
2212:
2210:
2203:
2197:
2190:
2184:
2177:
2171:
2165:
2159:
2152:
2146:
2139:
2133:
2126:
2120:
2113:
2107:
2100:
2094:
2084:
2078:
2071:
2065:
2058:
2052:
2047:Levey, Michael,
2045:
2039:
2034:Levey, Michael,
2032:
2026:
2024:
2018:
2010:
2002:
1996:
1994:
1987:
1981:
1980:
1962:
1951:
1940:
1934:
1915:
1909:
1908:
1891:
1885:
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1868:
1861:
1855:
1849:
1843:
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1831:
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1818:
1812:
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1803:
1797:
1795:
1789:
1781:
1773:
1767:
1764:
1758:
1751:
1745:
1739:
1733:
1727:
1721:
1720:
1718:
1716:
1711:on 8 August 2018
1707:. Archived from
1697:
1691:
1685:
1679:
1672:
1663:
1657:
1651:
1644:
1635:
1633:
1625:
1619:
1612:
1606:
1601:Patmore, Derek,
1599:
1494:Of Human Bondage
1401:Gaston de Latour
1312:
1293:
1283:
1267:
1253:
1239:
1225:
1215:
1212:Everyman Library
1197:
1178:
1170:
1153:G. K. Chesterton
1129:
1114:Richard Wollheim
1041:Richard Wollheim
1029:Bernard Berenson
956:Queen Marguerite
928:Gaston de Latour
856:Gaston de Latour
791:Blackfriars Hall
774:), substituting
678:Blue plaque, 12
500:The New Republic
443:Bishop of Oxford
133:literary fiction
73:
56:
54:
35:
21:
20:
4262:
4261:
4257:
4256:
4255:
4253:
4252:
4251:
4122:
4121:
4120:
4115:
4105:
4103:
4080:
4004:
3999:
3989:
3979:
3976:Critical Essays
3969:
3959:
3949:
3939:
3929:
3919:
3909:
3899:
3889:
3879:
3869:
3853:
3626:
3540:Ortega y Gasset
3333:
3245:
3179:
3174:
3105:
3094:
3086:
3079:
3055:
3050:, Victorian Web
3043:
3029:
3023:
2992:Standard Ebooks
2984:
2954:
2952:Further reading
2934:
2933:
2901:
2900:
2869:
2868:
2865:
2822:
2820:
2813:
2769:Donoghue, Denis
2723:
2718:
2717:
2706:
2702:
2693:
2689:
2680:
2676:
2665:
2661:
2652:
2648:
2631:
2630:
2620:
2612:
2608:
2597:
2593:
2585:
2581:
2564:
2557:
2548:
2544:
2533:
2529:
2516:
2512:
2503:
2499:
2490:
2486:
2477:
2473:
2464:
2460:
2445:
2441:
2428:
2424:
2411:
2410:
2406:
2397:
2386:
2382:
2365:
2364:
2353:
2349:
2341:Wilson, Scott.
2340:
2336:
2329:
2325:
2316:
2309:
2300:
2296:
2288:
2284:
2276:
2272:
2260:
2253:
2244:
2240:
2232:
2228:
2219:
2215:
2204:
2200:
2191:
2187:
2178:
2174:
2166:
2162:
2153:
2149:
2140:
2136:
2127:
2123:
2114:
2110:
2101:
2097:
2085:
2081:
2072:
2068:
2059:
2055:
2046:
2042:
2033:
2029:
2012:
2011:
2003:
1999:
1992:Victorian Notes
1988:
1984:
1977:
1963:
1954:
1941:
1937:
1916:
1912:
1906:
1892:
1888:
1880:
1871:
1862:
1858:
1850:
1846:
1838:
1834:
1819:
1815:
1804:
1800:
1783:
1782:
1774:
1770:
1765:
1761:
1752:
1748:
1740:
1736:
1728:
1724:
1714:
1712:
1699:
1698:
1694:
1686:
1682:
1673:
1666:
1662:, chapters 1–4.
1658:
1654:
1645:
1638:
1626:
1622:
1613:
1609:
1600:
1596:
1591:
1545:The Renaissance
1517:Another Country
1473:The Renaissance
1448:
1380:The Renaissance
1328:
1310:
1204:Uglow, Jennifer
1195:
1172:
1161:
1159:Modern editions
1136:
1130:
1124:
1101:The Renaissance
1097:
1095:Critical method
1069:Wallace Stevens
1013:
993:Édition de luxe
915:The Renaissance
860:
837:rheumatic fever
744:
700:Katharine Adams
622:Marcus Aurelius
527:
439:The Renaissance
333:
330:The Renaissance
326:
297:Anglican clergy
283:Benjamin Jowett
247:Modern Painters
211:
191:literary critic
153:The Renaissance
110:Alma mater
75:
71:
58:
52:
50:
42:
26:
17:
12:
11:
5:
4260:
4250:
4249:
4244:
4239:
4234:
4229:
4224:
4219:
4214:
4212:Male essayists
4209:
4204:
4199:
4194:
4189:
4184:
4179:
4174:
4169:
4164:
4159:
4154:
4149:
4144:
4139:
4134:
4117:
4116:
4114:
4113:
4101:
4096:
4091:
4085:
4082:
4081:
4079:
4078:
4073:
4068:
4063:
4058:
4053:
4048:
4046:Neuroesthetics
4043:
4038:
4033:
4028:
4026:Arts criticism
4023:
4018:
4012:
4010:
4006:
4005:
4003:
4002:
3992:
3982:
3972:
3962:
3952:
3942:
3932:
3922:
3912:
3902:
3896:On the Sublime
3892:
3882:
3872:
3861:
3859:
3855:
3854:
3852:
3851:
3846:
3841:
3836:
3831:
3826:
3821:
3816:
3809:
3804:
3799:
3794:
3789:
3784:
3779:
3774:
3767:
3762:
3760:Interpretation
3757:
3752:
3747:
3742:
3737:
3732:
3727:
3722:
3717:
3712:
3707:
3702:
3697:
3692:
3687:
3682:
3677:
3676:
3675:
3670:
3660:
3655:
3653:Artistic merit
3650:
3645:
3640:
3634:
3632:
3628:
3627:
3625:
3624:
3617:
3612:
3607:
3602:
3597:
3592:
3587:
3582:
3577:
3572:
3567:
3562:
3557:
3552:
3547:
3542:
3537:
3532:
3527:
3522:
3517:
3512:
3507:
3502:
3497:
3492:
3487:
3482:
3477:
3472:
3467:
3462:
3457:
3452:
3447:
3442:
3437:
3432:
3427:
3422:
3417:
3412:
3407:
3402:
3397:
3392:
3387:
3382:
3377:
3372:
3367:
3362:
3357:
3352:
3347:
3341:
3339:
3335:
3334:
3332:
3331:
3324:
3319:
3314:
3309:
3304:
3302:Psychoanalysis
3299:
3294:
3289:
3284:
3279:
3274:
3269:
3264:
3259:
3253:
3251:
3247:
3246:
3244:
3243:
3238:
3233:
3228:
3223:
3218:
3213:
3208:
3203:
3198:
3193:
3187:
3185:
3181:
3180:
3173:
3172:
3165:
3158:
3150:
3144:
3143:
3140:
3134:
3120:
3103:
3092:
3077:
3074:Uranian poetry
3062:
3053:
3041:
3031:"Walter Pater"
3027:
3012:
3003:
2994:
2983:
2982:External links
2980:
2953:
2950:
2949:
2948:
2924:
2915:
2891:
2882:
2863:
2850:
2841:
2832:Levey, Michael
2828:
2806:
2793:
2778:
2765:
2762:, Rede Lecture
2752:
2737:
2730:, ed. (2004),
2722:
2719:
2716:
2715:
2700:
2687:
2674:
2659:
2653:A. C. Benson,
2646:
2628:, London, 1934
2606:
2591:
2579:
2555:
2542:
2527:
2510:
2497:
2484:
2471:
2458:
2439:
2422:
2404:
2380:
2347:
2334:
2323:
2307:
2294:
2292:, p. 194.
2282:
2270:
2251:
2238:
2236:, p. 185.
2226:
2213:
2198:
2185:
2172:
2160:
2154:Walter Pater,
2147:
2134:
2121:
2108:
2095:
2079:
2066:
2053:
2040:
2027:
1997:
1982:
1975:
1952:
1942:A. C. Benson,
1935:
1910:
1904:
1886:
1869:
1856:
1844:
1832:
1813:
1798:
1768:
1759:
1746:
1744:, p. 138.
1734:
1732:, p. 125.
1722:
1705:Boston College
1692:
1690:, p. 211.
1680:
1664:
1652:
1636:
1620:
1607:
1593:
1592:
1590:
1587:
1583:
1582:
1576:
1566:
1556:
1549:Frederic Tuten
1541:
1534:
1521:
1508:
1497:
1486:
1479:'s 1920 novel
1469:
1452:
1447:
1444:
1443:
1442:
1435:
1432:Correspondence
1428:
1421:
1414:
1407:
1404:
1397:
1390:
1383:
1362:From 2019 the
1327:
1324:
1323:
1322:
1308:
1295:
1285:
1274:Levey, Michael
1269:
1255:
1241:
1227:
1217:
1214:, London: Dent
1199:
1193:
1180:
1160:
1157:
1135:
1132:
1122:
1105:Matthew Arnold
1096:
1093:
1012:
1009:
960:King Henry III
899:The New Review
859:
845:
743:
730:
583:Simeon Solomon
526:
517:
515:, Dec. 1876).
379:William Morris
332:
327:
325:
322:
210:
207:
178:
177:
167:
166:Notable awards
163:
162:
150:
146:
145:
140:
136:
135:
121:
117:
116:
111:
107:
106:
103:
99:
98:
95:
91:
90:
85:
81:
80:
74:(aged 54)
68:
64:
63:
48:
44:
43:
36:
28:
27:
24:
15:
9:
6:
4:
3:
2:
4259:
4248:
4245:
4243:
4240:
4238:
4235:
4233:
4230:
4228:
4225:
4223:
4220:
4218:
4215:
4213:
4210:
4208:
4205:
4203:
4200:
4198:
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4190:
4188:
4185:
4183:
4180:
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4150:
4148:
4145:
4143:
4140:
4138:
4135:
4133:
4130:
4129:
4127:
4112:
4102:
4100:
4097:
4095:
4092:
4090:
4087:
4086:
4083:
4077:
4076:Theory of art
4074:
4072:
4069:
4067:
4064:
4062:
4059:
4057:
4054:
4052:
4049:
4047:
4044:
4042:
4039:
4037:
4034:
4032:
4029:
4027:
4024:
4022:
4019:
4017:
4014:
4013:
4011:
4007:
3998:
3997:
3993:
3988:
3987:
3983:
3978:
3977:
3973:
3967:
3963:
3957:
3953:
3948:
3947:
3943:
3938:
3937:
3933:
3927:
3923:
3918:
3917:
3913:
3908:
3907:
3903:
3898:
3897:
3893:
3888:
3887:
3883:
3878:
3877:
3873:
3868:
3867:
3866:Hippias Major
3863:
3862:
3860:
3856:
3850:
3847:
3845:
3842:
3840:
3837:
3835:
3832:
3830:
3827:
3825:
3822:
3820:
3817:
3815:
3814:
3810:
3808:
3805:
3803:
3800:
3798:
3795:
3793:
3790:
3788:
3785:
3783:
3780:
3778:
3775:
3773:
3772:
3768:
3766:
3763:
3761:
3758:
3756:
3753:
3751:
3748:
3746:
3743:
3741:
3738:
3736:
3733:
3731:
3728:
3726:
3725:Entertainment
3723:
3721:
3718:
3716:
3713:
3711:
3708:
3706:
3703:
3701:
3698:
3696:
3693:
3691:
3688:
3686:
3683:
3681:
3678:
3674:
3671:
3669:
3666:
3665:
3664:
3661:
3659:
3656:
3654:
3651:
3649:
3648:Art manifesto
3646:
3644:
3641:
3639:
3638:Appropriation
3636:
3635:
3633:
3629:
3623:
3622:
3618:
3616:
3613:
3611:
3608:
3606:
3603:
3601:
3598:
3596:
3593:
3591:
3588:
3586:
3583:
3581:
3578:
3576:
3573:
3571:
3568:
3566:
3563:
3561:
3558:
3556:
3553:
3551:
3548:
3546:
3543:
3541:
3538:
3536:
3533:
3531:
3530:Merleau-Ponty
3528:
3526:
3523:
3521:
3518:
3516:
3513:
3511:
3508:
3506:
3503:
3501:
3498:
3496:
3493:
3491:
3488:
3486:
3483:
3481:
3478:
3476:
3473:
3471:
3468:
3466:
3463:
3461:
3458:
3456:
3453:
3451:
3448:
3446:
3443:
3441:
3438:
3436:
3433:
3431:
3428:
3426:
3423:
3421:
3418:
3416:
3413:
3411:
3408:
3406:
3403:
3401:
3398:
3396:
3393:
3391:
3388:
3386:
3383:
3381:
3378:
3376:
3373:
3371:
3368:
3366:
3363:
3361:
3358:
3356:
3353:
3351:
3348:
3346:
3345:Abhinavagupta
3343:
3342:
3340:
3336:
3330:
3329:
3325:
3323:
3320:
3318:
3315:
3313:
3310:
3308:
3305:
3303:
3300:
3298:
3297:Postmodernism
3295:
3293:
3290:
3288:
3285:
3283:
3280:
3278:
3275:
3273:
3270:
3268:
3265:
3263:
3260:
3258:
3255:
3254:
3252:
3248:
3242:
3239:
3237:
3234:
3232:
3229:
3227:
3224:
3222:
3219:
3217:
3214:
3212:
3209:
3207:
3204:
3202:
3199:
3197:
3194:
3192:
3189:
3188:
3186:
3182:
3178:
3171:
3166:
3164:
3159:
3157:
3152:
3151:
3148:
3141:
3139:
3135:
3132:
3128:
3124:
3121:
3118:
3112:
3108:
3104:
3099:
3098:
3093:
3085:
3084:
3078:
3075:
3070:
3069:
3063:
3060:
3059:
3054:
3049:
3048:
3042:
3038:
3037:
3032:
3028:
3020:
3016:
3013:
3011:
3007:
3004:
3002:
2998:
2995:
2993:
2989:
2986:
2985:
2979:
2977:
2972:
2968:
2965:(4): 406–17,
2964:
2960:
2944:
2938:
2930:
2925:
2921:
2916:
2911:
2905:
2897:
2892:
2888:
2883:
2879:
2873:
2866:
2864:0-521-01981-8
2860:
2856:
2851:
2847:
2842:
2837:
2833:
2829:
2819:
2812:
2807:
2802:
2798:
2797:Hough, Graham
2794:
2792:
2787:
2783:
2782:Gosse, Edmund
2779:
2774:
2770:
2766:
2761:
2757:
2753:
2751:
2746:
2742:
2741:Benson, A. C.
2738:
2733:
2729:
2728:Bann, Stephen
2725:
2724:
2711:
2704:
2697:
2691:
2684:
2678:
2670:
2663:
2656:
2650:
2641:
2635:
2627:
2623:
2617:
2610:
2602:
2595:
2589:, p. 21.
2588:
2583:
2574:
2573:
2568:
2562:
2560:
2552:
2546:
2540:
2538:
2531:
2524:
2520:
2514:
2507:
2501:
2494:
2488:
2481:
2475:
2468:
2462:
2453:
2449:
2443:
2436:
2432:
2426:
2417:
2416:
2408:
2396:
2395:
2390:
2384:
2375:
2369:
2361:
2357:
2351:
2344:
2338:
2332:
2327:
2320:
2314:
2312:
2304:
2298:
2291:
2286:
2279:
2274:
2265:
2258:
2256:
2248:
2242:
2235:
2230:
2223:
2217:
2209:
2208:Prose Studies
2202:
2195:
2189:
2182:
2176:
2170:, p. 73.
2169:
2164:
2157:
2151:
2145:, Chapter XVI
2144:
2138:
2131:
2125:
2118:
2112:
2105:
2102:A.C. Benson,
2099:
2092:
2088:
2083:
2076:
2070:
2063:
2057:
2051:(London 1978)
2050:
2044:
2037:
2031:
2022:
2016:
2008:
2001:
1993:
1986:
1978:
1972:
1968:
1961:
1959:
1957:
1949:
1945:
1939:
1932:
1928:
1924:
1920:
1914:
1907:
1905:0-8223-3371-6
1901:
1897:
1890:
1883:
1878:
1876:
1874:
1866:
1860:
1853:
1848:
1841:
1836:
1830:, p. 10.
1829:
1824:
1817:
1809:
1802:
1793:
1787:
1779:
1772:
1763:
1756:
1750:
1743:
1738:
1731:
1726:
1710:
1706:
1702:
1696:
1689:
1684:
1677:
1671:
1669:
1661:
1656:
1649:
1643:
1641:
1632:, p. 126
1631:
1624:
1617:
1611:
1604:
1598:
1594:
1586:
1580:
1577:
1574:
1570:
1567:
1564:
1560:
1557:
1554:
1550:
1546:
1542:
1539:
1538:Billy Collins
1535:
1532:
1531:
1526:
1522:
1519:
1518:
1513:
1509:
1506:
1502:
1498:
1495:
1491:
1487:
1484:
1483:
1478:
1477:Edith Wharton
1474:
1470:
1467:
1463:
1459:
1458:
1453:
1450:
1449:
1446:In literature
1440:
1436:
1433:
1429:
1426:
1422:
1419:
1415:
1412:
1411:Appreciations
1408:
1405:
1402:
1398:
1395:
1391:
1388:
1384:
1381:
1377:
1376:
1375:
1373:
1369:
1365:
1356:
1349:
1344:
1337:
1332:
1320:
1319:0-19-953507-8
1316:
1311:
1305:
1301:
1296:
1291:
1286:
1281:
1280:
1275:
1270:
1265:
1261:
1256:
1251:
1247:
1246:Bloom, Harold
1242:
1237:
1233:
1232:Bloom, Harold
1228:
1223:
1218:
1213:
1209:
1205:
1200:
1196:
1194:0-19-953507-8
1190:
1186:
1181:
1176:
1168:
1163:
1162:
1156:
1154:
1150:
1146:
1142:
1128:, Chapter XX.
1127:
1121:
1117:
1115:
1111:
1106:
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1089:
1085:
1080:
1076:
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1070:
1066:
1062:
1058:
1054:
1050:
1046:
1045:Marcel Proust
1042:
1038:
1037:Kenneth Clark
1034:
1030:
1026:
1022:
1018:
1008:
1006:
1002:
998:
994:
991:in 1919). An
990:
986:
982:
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966:
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891:
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877:
873:
872:Greek Studies
869:
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857:
853:
849:
848:Greek Studies
844:
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838:
833:
830:
826:
821:
819:
815:
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808:
804:
800:
796:
792:
787:
785:
784:Appreciations
781:
780:Appreciations
777:
773:
769:
768:Appreciations
765:
761:
760:Thomas Browne
757:
753:
749:
742:
738:
734:
733:Appreciations
729:
727:
723:
719:
715:
711:
710:
701:
697:
693:
688:
681:
680:Earls Terrace
676:
669:
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664:Earls Terrace
660:
656:
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653:Earls Terrace
650:
649:Bradmore Road
646:
642:
638:
634:
629:
627:
623:
619:
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611:
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584:
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572:
568:
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555:
548:
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540:
536:
535:Bradmore Road
531:
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516:
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510:
506:
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494:
492:
486:
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483:W. H. Mallock
480:
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175:
171:
170:Honorary LL.D
168:
164:
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159:
154:
151:
149:Notable works
147:
144:
141:
137:
134:
130:
126:
125:art criticism
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108:
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100:
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84:Resting place
82:
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69:
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61:
57:4 August 1839
49:
45:
40:
34:
29:
22:
19:
3994:
3984:
3974:
3944:
3934:
3914:
3904:
3894:
3884:
3874:
3864:
3811:
3787:Magnificence
3769:
3619:
3585:Schopenhauer
3544:
3420:Coomaraswamy
3338:Philosophers
3326:
3257:Aestheticism
3096:
3082:
3067:
3057:
3046:
3035:
2962:
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2955:
2928:
2919:
2895:
2886:
2854:
2845:
2835:
2821:, retrieved
2817:
2800:
2785:
2772:
2759:
2756:Cecil, David
2745:Walter Pater
2744:
2731:
2709:
2703:
2695:
2690:
2682:
2677:
2668:
2662:
2655:Walter Pater
2654:
2649:
2621:
2616:Introduction
2615:
2609:
2600:
2594:
2582:
2570:
2550:
2545:
2536:
2530:
2522:
2518:
2513:
2505:
2500:
2492:
2487:
2479:
2474:
2466:
2461:
2454:, p. 10
2452:Walter Pater
2451:
2442:
2434:
2430:
2425:
2413:
2412:"Obituary",
2407:
2394:Walter Pater
2393:
2383:
2359:
2356:Lucas, F. L.
2350:
2342:
2337:
2326:
2318:
2302:
2297:
2285:
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2263:
2246:
2241:
2229:
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2216:
2207:
2201:
2193:
2188:
2180:
2175:
2163:
2155:
2150:
2142:
2137:
2129:
2124:
2116:
2111:
2104:Walter Pater
2103:
2098:
2091:Walter Pater
2090:
2082:
2074:
2069:
2061:
2056:
2048:
2043:
2035:
2030:
2006:
2000:
1991:
1985:
1966:
1947:
1943:
1938:
1930:
1926:
1923:A. C. Benson
1919:Edmund Gosse
1913:
1895:
1889:
1864:
1859:
1851:
1847:
1835:
1823:Introduction
1822:
1816:
1807:
1801:
1777:
1771:
1762:
1754:
1749:
1737:
1725:
1713:. Retrieved
1709:the original
1695:
1683:
1675:
1655:
1647:
1629:
1623:
1615:
1610:
1602:
1597:
1584:
1579:R. P. Lister
1571:in his work
1569:H. L Mencken
1562:
1552:
1544:
1528:
1525:Tom Stoppard
1515:
1511:
1504:
1500:
1493:
1480:
1472:
1465:
1461:
1455:
1438:
1431:
1424:
1417:
1410:
1400:
1393:
1386:
1379:
1371:
1367:
1361:
1336:oriel window
1299:
1289:
1277:
1259:
1249:
1238:, NY: Signet
1235:
1221:
1207:
1184:
1174:
1169:, NY: Harper
1166:
1149:A. C. Benson
1141:Edmund Gosse
1137:
1125:
1119:
1109:
1100:
1098:
1024:
1014:
1004:
1000:
996:
992:
988:
984:
980:The Guardian
978:Essays from
977:
976:
970:
963:
939:
935:
931:
927:
925:
918:
914:
910:
902:
898:
894:
892:
887:
879:
871:
861:
855:
851:
847:
834:
824:
822:
817:
812:
807:Harold Bloom
802:
788:
783:
779:
767:
763:
751:
747:
745:
740:
736:
732:
725:
707:
705:
695:
682:, Kensington
645:North Oxford
640:
630:
625:
603:
600:
594:
592:
586:
571:Edmund Gosse
560:
539:North Oxford
523:
519:
512:
498:
496:
491:A. C. Benson
488:
468:
464:George Eliot
460:Epicureanism
450:
438:
437:
433:
428:
423:
418:
408:
404:
400:
397:Michelangelo
395:(1870), and
382:
364:
342:
329:
290:
256:
245:
231:
217:in London's
212:
203:Aestheticism
198:
194:
182:
181:
156:
152:
143:Aestheticism
72:(1894-07-30)
70:30 July 1894
25:Walter Pater
18:
4137:1894 deaths
4132:1839 births
3880:(c. 335 BC)
3870:(c. 390 BC)
3849:Work of art
3802:Picturesque
3658:Avant-garde
3615:Winckelmann
3490:Kierkegaard
3415:Collingwood
3385:Baudrillard
3312:Romanticism
3282:Historicism
3216:Mathematics
2823:21 December
2519:The Bookman
2278:Wright 1907
2087:A.C. Benson
1854:, Nov. 1873
1688:Wright 1907
1512:Renaissance
1462:Renaissance
1439:Manuscripts
1423:Vol. VIII.
1171:. Contains
1084:Polykleitos
1065:T. S. Eliot
1057:Paul Valéry
1053:W. B. Yeats
1049:James Joyce
1021:Oscar Wilde
995:ten-volume
971:The Bookman
668:blue plaque
587:Renaissance
547:Clara Pater
543:blue plaque
371:Winckelmann
357:metaphysics
310:Clara Pater
242:John Ruskin
4126:Categories
3819:Recreation
3797:Perception
3690:Creativity
3390:Baumgarten
3380:Baudelaire
3262:Classicism
3177:Aesthetics
2448:Benson, AC
2266:, New York
2234:Levey 1978
2168:Levey 1978
1925:(Benson's
1882:Inman 1991
1840:Levey 1978
1828:Pater 1973
1742:Levey 1978
1730:Levey 1978
1715:5 December
1660:Levey 1978
1589:References
1501:Arrowsmith
1416:Vol. VII.
1392:Vol. III.
1088:Diadumenos
1061:Ezra Pound
876:Hippolytus
843:, Oxford.
614:asceticism
275:Heidelberg
267:Baudelaire
209:Early life
94:Occupation
53:1839-08-04
3824:Reverence
3730:Eroticism
3700:Depiction
3673:Masculine
3575:Santayana
3535:Nietzsche
3480:Hutcheson
3470:Heidegger
3455:Greenberg
3410:Coleridge
3375:Balthasar
3360:Aristotle
3322:Theosophy
3317:Symbolism
3292:Modernism
3277:Formalism
2971:0013-8339
2587:Ward 1966
2415:The Times
2358:(1924) ,
2290:Ward 1966
1551:'s novel
1430:Vol. IX.
1409:Vol. VI.
1399:Vol. IV.
1033:Roger Fry
1011:Influence
948:Montaigne
884:Euripides
610:Antonines
567:Swinburne
462:", while
415:Giorgione
410:Mona Lisa
361:Coleridge
318:Brasenose
299:, but at
271:Swinburne
238:cathedral
79:, England
4099:Category
4031:Axiology
3900:(c. 500)
3890:(c. 100)
3765:Judgment
3720:Emotions
3715:Elegance
3695:Cuteness
3668:Feminine
3631:Concepts
3600:Tanizaki
3580:Schiller
3565:Richards
3555:Rancière
3525:Maritain
3460:Hanslick
3400:Benjamin
3272:Feminism
3241:Theology
3221:Medieval
3211:Japanese
3206:Internet
3019:LibriVox
2937:citation
2931:, London
2904:citation
2898:, London
2872:citation
2834:(1978),
2799:(1949),
2771:(1995),
2758:(1955),
2743:(1906),
2634:citation
2450:(1906),
2391:(1894),
2368:citation
2015:citation
2009:, London
1786:citation
1780:, London
1527:'s play
1471:Pater's
1437:Vol. X.
1385:Vol II.
1378:Vol. I.
1145:Flaubert
1123:—
1082:Copy of
923:(1892).
694:copy of
692:Bodleian
620:emperor
509:Dionysus
479:Platonic
391:(1869),
375:idealism
345:Florence
259:Flaubert
219:East End
213:Born in
155:(1873),
102:Language
4094:Outline
4009:Related
3876:Poetics
3844:Tragedy
3834:Sublime
3807:Quality
3792:Mimesis
3750:Harmony
3735:Fashion
3710:Ecstasy
3705:Disgust
3621:more...
3590:Scruton
3515:Lyotard
3450:Goodman
3430:Deleuze
3365:Aquinas
3355:Alberti
3328:more...
3307:Realism
3287:Marxism
3267:Fascism
3250:Schools
3236:Science
3191:Ancient
3125:at the
3089:, Yahoo
3047:Authors
3008:at the
2721:Sources
2141:Pater,
1703:. USA:
1338:, left.
1276:(ed.),
1248:(ed.),
1234:(ed.),
1206:(ed.),
1185:Letters
944:Ronsard
888:ascetic
797:of the
722:Spinoza
714:Watteau
471:Balliol
353:Ravenna
263:Gautier
223:Enfield
215:Stepney
123:Essay,
105:English
60:Stepney
4000:(2009)
3990:(1977)
3980:(1946)
3970:(1939)
3960:(1935)
3950:(1934)
3940:(1933)
3930:(1891)
3920:(1835)
3910:(1757)
3777:Kitsch
3755:Humour
3685:Comedy
3663:Beauty
3605:Vasari
3595:Tagore
3570:Ruskin
3510:Lukács
3500:Langer
3445:Goethe
3370:Balázs
3350:Adorno
3231:Nature
3196:Africa
3087:(JPEG)
3083:Flickr
2969:
2861:
2525:(1919)
1973:
1902:
1466:Marius
1317:
1306:
1191:
1177:, 1931
1001:Marius
936:Gaston
932:Marius
907:Pascal
813:Marius
739:, and
641:Marius
626:Marius
577:, and
457:rococo
306:Oxford
301:Oxford
287:Second
176:(1894)
161:(1885)
120:Genres
77:Oxford
4089:Index
3858:Works
3839:Taste
3829:Style
3610:Wilde
3550:Plato
3545:Pater
3505:Lipps
3465:Hegel
3435:Dewey
3425:Danto
3405:Burke
3226:Music
3201:India
3184:Areas
2814:(PDF)
1944:Diary
1927:Diary
1441:( — )
1420:( — )
1389:( — )
1382:( — )
1372:Works
1134:Style
952:Bruno
868:Oriel
829:Gosse
618:Stoic
430:only.
279:Hegel
3813:Rasa
3771:Kama
3745:Gaze
3680:Camp
3560:Rand
3495:Klee
3485:Kant
3475:Hume
3395:Bell
2967:ISSN
2943:link
2910:link
2878:link
2859:ISBN
2825:2015
2640:link
2374:link
2021:link
1971:ISBN
1900:ISBN
1792:link
1717:2012
1464:and
1315:ISBN
1304:ISBN
1189:ISBN
1067:and
1039:and
816:and
793:, a
776:Hugo
716:and
690:The
522:and
351:and
349:Pisa
269:and
189:and
67:Died
47:Born
3740:Fun
3520:Man
3440:Fry
3017:at
2999:at
2990:at
2619:to
1921:to
1826:in
1492:'s
1086:' '
968:in
647:(2
635:at
537:in
417:' (
359:of
289:in
244:'s
187:art
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3102:.
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2945:)
2923:.
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2912:)
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2672:.
2644:.
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2420:.
2402:.
2378:.
2376:)
2268:.
2211:.
2025:.
2023:)
1995:.
1979:.
1884:.
1811:.
1796:.
1794:)
1719:.
1634:.
1555:.
1533:.
1520:.
1468:.
1294:.
1284:.
1268:.
1254:.
1240:.
1198:.
1179:.
55:)
51:(
41:)
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