Walter Pater's The Renaissance offers a unique exploration of the multifaceted cultural movement through impressionistic analysis of its key figures. Pater delves into the lives and works of artists and thinkers across France, Italy, and Germany from the thirteenth to the eighteenth centuries, drawing out the era's diverse attitudes and goals. His approach provides a distinct perspective on the Renaissance, emphasizing the individual experience of art over a more traditional historical analysis.

Impressionistic Criticism

Pater describes his method as impressionistic, encouraging critics to first identify the specific impact a piece of art has on them. He then suggests determining the source and context—its "virtue"—and finally, effectively communicating this so others can share in the experience. The Renaissance serves as a testament to the personal impressions Pater formed while studying art, aiming to evoke a similar response from his readers.

Beyond Classical Revival

Pater argues that the Renaissance was far more than a mere resurrection of classical antiquity in the fifteenth century. He traces its origins back to twelfth and thirteenth-century France, citing works like Amis and Amile and Aucassin and Nicolette as early examples. These tales' spirit of rebellion against prevailing moral and religious norms foreshadowed the "outbreak of reason and imagination" that characterized the Italian Renaissance.

Reconciling Christianity and Classical Beliefs

A significant aspect of the later Renaissance was the attempt by Italian scholars to harmonize Christianity with ancient Greek religion. Giovanni Pico della Mirandola exemplified this endeavor, living a life "reconciled indeed to the new religion, but still [with] a tenderness for the earlier life." However, Pater notes this effort largely failed due to a lack of historical sense, resulting in allegorical interpretations that did not achieve true reconciliation.

Sandro Botticelli's Unique Vision

While acknowledging Sandro Botticelli as a painter of secondary rank compared to giants like Michelangelo and Leonardo da Vinci, Pater finds a distinct quality in his work. Botticelli's art reflects a blend of sympathy for humanity and a consciousness of the "shadow" over it, offering a realism tempered with visionary elements. His appeal, Pater suggests, lies in his "freshness" and "uncertain promise," characteristic of the early Renaissance period.

Sculpture's Challenges and Triumphs

In the chapter on Luca della Robbia, Pater reflects on the limitations and potential of sculpture. He critiques its inclination towards "hard realism," and praises the Greeks for focusing on types over individuals, achieving a purity akin to "pure thoughts or ideas." Michelangelo's genius, however, lay in leaving his sculptures intriguingly incomplete, suggesting form rather than fully realizing it. Tuscan sculptors like Luca achieved "profound expressiveness" with low relief earthenware, overcoming sculpture's inherent constraints.

The Poetry of Michelangelo

Pater's examination of Michelangelo's poetry delves into the impressions it leaves rather than the poetry itself. Besides the renowned strength of his work, Pater highlights its "charm," "sweetness," and "lovely strangeness," rooted in an idealized "brooding spirit of life." Michelangelo's verse reflects a Platonic pursuit of unseen beauty, with influences from Dante's imaginative love, embodying the fifteenth-century Florentine sentiment.

Two Renaissance Movements

The fifteenth century marked two distinct movements: a return to antiquity, exemplified by Raphael, and a return to nature, embodied by Leonardo da Vinci. Leonardo's genius blended a thirst for beauty with curiosity, imbuing his art with "subtle and curious grace." In La Gioconda, Pater sees a quintessential woman, representing "all thoughts and experiences of the world" etched into her features.

Art Aspiring to Music

In "The School of Giorgione," Pater famously claims "All art constantly aspires towards the condition of music." He describes this as a fusion of matter and form, with the ideal art being decorative. Venetian painters, including Giorgione,...