The Renaissance

THE RENAISSANCE: STUDIES IN ART AND POETRY WALTER HORATIO PATER
London: 1910. (The Library Edition.)

CONTENTS
Preface: vii-xv
Two Early French Stories: 1 -29
Pico della Mirandola: 30-49
Sandro Botticelli: 50-62
Luca della Robbia: 63-72
The Poetry of Michelangelo: 73-97
Leonardo da Vinci: 98-129
The School of Giorgione: 130-154
Joachim du Bellay: 155-176
Winckelmann: 177-232
Conclusion: 233-end

DEDICATION
To C.L.S February 1873

PREFACE
[vii] 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. The value of these attempts has most often been in the suggestive and penetrating things said by the way. Such discussions help us very little to enjoy what has been well done in art or poetry, to discriminate between what is more and what is less excellent in them, or to use words like beauty, excellence, art, poetry, with a more precise meaning than they would otherwise have. Beauty, like all other qualities presented to human experience, is relative; and the definition of it becomes unmeaning and useless in proportion to its abstractness. To define beauty, not in the most abstract but in the most concrete terms possible, to find not its universal formula, but the formula which expresses most adequately this or that [viii] special manifestation of it, is the aim of the true student of aesthetics.
"To see the object as in itself it really is," has been justly said to be the aim of all true criticism whatever, and in aesthetic criticism the first step towards seeing one's object as it really is, is to know one's own impression as it really is, to discriminate it, to realise it distinctly. The objects with which aesthetic criticism deals--music, poetry, artistic and accomplished forms of human life--are indeed receptacles of so many powers or forces: they possess, like the products of nature, so many virtues or qualities. What is this song or picture, this engaging personality presented in life or in a book, to me? What effect does it really produce on me? Does it give me pleasure? and if so, what sort or degree of pleasure? How is my nature modified by its presence, and under its influence? The answers to these questions are the original facts with which the aesthetic critic has to do; and, as in the study of light, of morals, of number, one must realise such primary data for one's self, or not at all. And he who experiences these impressions strongly, and drives directly at the discrimination and analysis of them, has no need to trouble himself with the abstract question what beauty is in itself, or what its exact relation to truth or [ix] experience--metaphysical questions, as unprofitable as metaphysical questions elsewhere. He may pass them all by as being, answerable or not, of no interest to him.
The aesthetic critic, then, regards all the objects with which he has to do, all works of art, and the fairer forms of nature and human life, as powers or forces producing pleasurable sensations, each of a more or less peculiar or unique kind. This influence he feels, and wishes to explain, by analysing and reducing it to its elements. To him, the picture, the landscape, the engaging personality in life or in a book, La Gioconda, the hills of Carrara, Pico of Mirandola, are valuable for their virtues, as we say, in speaking of a herb, a wine, a gem; for the property each has of affecting one with a special, a unique, impression of pleasure. Our education becomes complete in proportion as our susceptibility to these impressions increases in depth and variety. And the function of the aesthetic critic is to distinguish, to analyse, and separate from its adjuncts, the virtue by which a picture, a landscape, a fair personality in life or in a book, produces this special impression of beauty or pleasure, to indicate what the source of that impression is, and under what conditions it is experienced. His end is reached when he has disengaged that [x] virtue, and noted it, as a chemist notes some natural element, for himself and others; and the rule for those who would reach this end is stated with great exactness in the words of a recent critic of Sainte-Beuve:--De se borner �� conna?tre de pr��s les belles choses, et �� s'en nourrir en exquis amateurs, en humanistes accomplis.
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. He will remember always that beauty exists in many forms. To him all periods, types, schools of taste, are in themselves equal. In all ages there have been some excellent workmen, and some excellent work done. The question he asks