INDEX
- A
- Ainslie, Mr. Douglas, 21, 136, 185.
- America, one of Olney Paters emigrate to, 1.
- Amiel’s Journal (trans. Mrs. H. Ward), 199–200.
- Appleton, Dr. (editor of Academy), 21.
- Appreciations, 12; 1st ed. (1889), 2nd ed. (1890), 33; 119, 122, 147—
- “Aesthetic Poetry” (1868), 32, 33;
- reappeared (1889 ed.), omitted (1890 ed.), 153.
- “Charles Lamb,” 62–4, 78.
- Coleridge, S. T., considered as a philosopher, 12–13.
- “Feuillet’s La Morte,” 122.
- “Love’s Labour’s Lost” (1898), 78, 153.
- “Measure for Measure” (1874), 153, 154.
- “Romanticism” (1876), 64–6, reappeared as postscript to (1889), 153.
- “Shakespeare’s English Kings” (1889), 153,
- superficial analysis of, 155–6.
- “Sir Thomas Browne” (1886), 119–22.
- “Style” (1888), 147–53, 209.
- Apuleius, Golden Book of, 92.
- Arnold, Miss Mary (Mrs. Humphry Ward), 21.
- Art, History of Ancient (Winckelmann), 29.
- Athenaeum, 118.
- Azay-le-Rideau, 32.
- B
- Brasenose College, description of, 15–17.
- —— ancient ceremonies preserved at, 85.
- “Bruno, Giordano” (Gaston de Latour), 140, 153.
- Bussell, Dr. F. W., devoted companion to Pater, 21;
- memorial sermon on, 24; 180–1, 183, 189.
- Bywater, Prof. Ingram, 20, 192.
- C
- Caird, Dr. Edward, 20.
- Canterbury, King’s School at, 2, 6, 134.
- Capes, Mr. W. W., 20.
- Carlyle, Thomas, 213.
- Champneys, Mr. Basil, 21, 192.
- Child in the House, The. See Miscellaneous Studies.
- “Concert, The” (picture), 50.
- Cowper, William, 1.
- Creighton, Bishop, 21.
- D
- Daniel, Dr., 21.
- —— Mrs., 21.
- Dante (Prefatory Essay to Dr. C. L. Shadwell’s translation of), 159.
- Deffense et Illustration de la Langue Françoyse, La (Du Bellay), 45.
- Dialogues (Jowett), 56.
- Dictionary of National Biography, 19.
- Dilke, Lady, 37, 198.
- E
- Earthly Paradise, The (Morris), 35.
- Education (English system compared with Spartan theory of), 167–8.
- Eliot, George, 192.
- English Poets (Ward’s), 12.
- F
- Fortnightly Review, publication of essays in, 32–3; 67, 119, 140, 147, 153.
- “France, Some Great Churches in,” 168–9.
- G
- Goethe, 11, 14, 29, 131.
- Gore, Dr., 199.
- Gosse, Mr. Edmund, 21;
- letter to, 32; 54, 189, 190, 202, 205.
- Greek Studies (1895)—
- “Aegina, The Marbles of,” 76.
- “Athletic Prizemen, The Age of,” 77, 168.
- “Demeter and Persephone, The Myth of,” 71–2.
- “Dionysus” (1876), 67–70.
- “Euripides, The Bacchanals of,” 70–1, 200.
- “Greek Sculpture, Beginnings of,” 74–6.
- “Hippolytus Veiled” (1889), 73–4, 122, 153.
- Guardian, 48, 57, 118, 119, 204, 206.
- Guenevere, Defence of (W. Morris), 33.
- H
- Holywell Cemetery, Oxford, 176.
- Hursley, 4.
- I
- Imaginary Portraits, 73—
- “Court Painters, A Prince of” (1885), 122.
- Composition of, 124–5, 126.
- “Denys l’Auxerrois” (1886), 122, 123, 126–8, 131.
- “Duke Carl of Rosenmold” (1887), 122, 130–1, 207.
- “Sebastian van Storck” (1886), 122, 128–30, 131, 207.
- Italy, 9–10, 32.
- J
- Jason (William Morris), 35.
- Johnson, Mr. Lionel, 21.
- Jowett, Rev. Benjamin, 9;
- his opinion of Pater’s ability, 54–5, 56, 57, 196–7;
- Life of, 54, 56.
- K
- Keble, John, 4.
- King’s Tragedy, The (Rossetti), 87.
- Kipling, Rudyard, 205–6.
- L
- Lamb, Charles, 213.
- Latour, Gaston de, 92, 140–7.
- Letters (Pascal), 173.
- Lettres à une Inconnue (Prosper Mérimée), 158.
- M
- Macmillan’s Magazine, 140, 153.
- Mallock, Mr., 52.
- Marius the Epicurean, 46, 82–3, 85–9;
- autobiographical impression of, 91–115;
- reception of, 118, 162, 199;
- quoted, 93–9, 101–2, 104, 107, 108, 112, 114.
- May, Mrs. Walter, 2.
- Miscellaneous Studies, 10—
- “Apollo in Picardy” (1893), 123, 132–4.
- “Art Notes in North Italy,” 159.
- Child in the House, The (1898), 4, 5, 79–82, 89, 122.
- Diaphaneitè (1864), 10–11.
- Emerald Uthwart (1892), 4, 6, 123, 131, 134–9, 159.
- “Notre-Dame d’Amiens,” 168–9.
- “Pascal,” 169, 202.
- “Prosper Mérimée” (1890), 156–9.
- “Raphael,” 159–62.
- “Vézelay” (1894), 169.
- N
- New Republic (Mallock), 52–4; 55; 193.
- New Review, 159.
- Nineteenth Century, 168.
- O
- Olney, 1.
- Oxford, 8, 17–19, 23, 138.
- P
- Paget, Miss (Vernon Lee), 89–90.
- Pall Mall Gazette, 118.
- Pater, Dr. Richard Glode (father), 1;
- death of, 2.
- —— Miss (sister), 180.
- —— Mrs. (mother), 2;
- death of, 9.
- —— Walter Horatio, forefathers, 1–2;
- father, 1;
- birth, 2;
- mother, 2, 9;
- brothers and sisters, 2;
- family removes to Enfield, 2;
- visits to Fish Hall, 2;
- goes to school at Canterbury, 2;
- religion, 2, 4, 13;
- religious doubts, 173–4,
- life, 196–201;
- love of symbolism, 3, 36, 85, 196;
- reticence, 3, 185;
- instinct for expression triumphs over instinct for reticence, 217;
- desires to take Holy Orders, 3;
- intellectual awakening, 3;
- meets Keble, 4;
- sensitive apprehension of beauty, 4, 6, 12, 14, 215–6;
- seriousness, 164;
- Ruskin’s influence, 7;
- enters Queen’s College, Oxford, 8;
- course of study, 8–9;
- takes second-class in Final Classical Schools, 9;
- vacations spent in Germany, 9;
- tours in Italy, 9, 32;
- elected to Fellowship at Brasenose, 9;
- goes into residence, 9;
- friends, 9–10, 20–1, 123,
- their appreciation of, 180–1;
- his loyalty to, 186, 192;
- early work destroyed, 10;
- member of ‘Old Mortality’ Society, 10;
- ideal of intellectual and moral sincerity, 10–11;
- interest in philosophy, 11, 14;
- Influence of Goethe, 11, 14;
- first published writing, 12;
- beginning of work, 13;
- description of college rooms, 17–9;
- simplicity of tastes, 18, 19, 117, 179;
- habits, 19–20;
- as a friend, 19–22, 26;
- dislike of responsibility, 23;
- deep sense of, 187;
- as lecturer, 20, 84;
- as Tutor and Dean, 20, 23, 25, 59, 84;
- takes house in Norham Gardens, 21;
- attitude towards young men, 24–6;
- compared to Telemachus, 26;
- self-revelation in writings, 27, 170;
- essays published in Fortnightly Review, 32;
- first book produced, 32;
- criticism of Morris’s “Defence of Guenevere,” 33–5;
- consistency and individuality, 36;
- revolt against synthetic school of art-criticism, 37;
- perception of music, 44;
- definition of success, 47;
- art-criticism, 48–9;
- a great critic, 158;
- writes for Guardian, 48;
- criticism of da Vinci, 49;
- of Botticelli, 50;
- style parodied, 52–4;
- misunderstanding with Jowett, 54–5;
- his view of Jowett, 55–8;
- reputation as a talker, 59, 188, 193;
- lectures on Greek Studies, 67,
- publication of, 67–78;
- work becomes creative rather than critical, 78;
- appearance of “The Child in the House,” 79;
- absorbed in Marius, 82;
- resigns tutorship, 83;
- physical appearance, 85, 178, 180;
- method of criticism, 87–8,
- of working, 89, 123–4;
- Marius published, 89,
- letters to Miss Paget concerning, 89;
- removes to London, 117;
- resides at Brasenose during term, 117;
- appreciation of France, 117–18;
- most fruitful years, 118;
- contributes to current journals, 118–19;
- essay on Sir T. Browne, 119–22;
- at work on Imaginary Portraits, 122,
- intends to bring out new volume of, 123;
- fantastic writing, 126–8,
- lack of restraint in style of “Denys l’Auxerrois,” 128;
- melancholy introspectiveness, 138–9;
- engaged on Gaston de Latour, 140;
- composition of essay on “Style,” 147;
- summary of artistic creed, 151;
- ethical base of temperament, 153,
- view of end of art, 153,
- of value of the play, 154;
- skill in dealing with Shakespeare’s works, 154–5;
- at work on Plato and Platonism, 156,
- places this work at the head of his own writings, 162,
- aim in, 163;
- lectures on Mérimée, 159;
- writes introduction to Dante, 159;
- not a philosopher, 163–5,
- epigram on, 164;
- development contrasted with Henry Sidgwick’s, 165;
- last utterance, 169;
- deep significance of essay on “Pascal,” 169–72,
- admiration for, 173;
- summary of Pensées, 173;
- settles at St. Giles’, Oxford, 174;
- later days, 174–5;
- receives Hon. Degree of LL.D., Glasgow, 175;
- visits Northern cathedrals, 175;
- first serious illness, 175;
- recovery, subsequent relapse, death, 176;
- buried at Holywell Cemetery, Oxford, 176;
- portraits of, 178;
- physical strength varies with inner mood, 179;
- sensibility, 179;
- dress, 179–80;
- shyness, 180;
- dislike to opposition, 181;
- lack of appreciation at Oxford, 181–2,
- personal characteristics at, 183–4;
- attitude towards the world, 185;
- uniform kindness, 186;
- aloofness from current thought, 186;
- political views, 187;
- reason for residence at Oxford, 187;
- sacrifice to art, 188;
- quality of humour, 188–91;
- attracted by cats, 190–1;
- as an examiner, 191–2;
- anecdotes about, 193–4;
- irony, 195;
- views on principles of art, 195–6;
- admiration for Amiel’s Journal, 199;
- habits of composition, 201–6;
- significant writing, 204;
- principal characteristics of style, 204, 215;
- typical sentence, 204–5;
- did not read Stevenson or Kipling, 205–6;
- always regards nature as a background, 206–7;
- sensitiveness to adverse criticism, 209;
- no precocious desire to write, 209–10;
- abstains from verse composition, 210;
- late development of style, 210–1;
- attitude towards art, 212;
- position in later English literature, 212–15;
- writing contrasted with Carlyle’s, 213;
- as a writer akin to Charles Lamb, 213;
- a dreamer, 217–20.
- Pater’s friends, 20, 21.
- Pater, William Thompson (brother), 2.
- Pattison, Mark (Rector of Lincoln), 21, 37, 190, 192.
- Pensées (Pascal), 173.
- “Philosophers, The Three” (“The Chaldean Sages”), (picture), 50.
- Plato, 165, 167.
- Plato and Platonism, 20, 54, 58,
- Jowett’s admiration of, 58;
- began to appear (1892), 156; 159;
- eventually published (1893), 162; 163–8.
- Poe, E. A., criticism of, 23.
- Purgatory (C. L. Shadwell’s trans. of), 159.
- Q
- Queen’s College (Oxford), description of, 8.
- R
- Renaissance, Studies in the History of the (with “Preface” and “Conclusion”), 1st ed. (1873), 2nd and 3rd (1877), 32–3; 35, 36—
- “Conclusion,” 45,
- reason for exclusion from 2nd ed. of Studies, etc., 46, 47–8;
- principle of selection explained, 37;
- Lady Dilke’s criticism of, 37–8; 49–51, 52, 59, 162.
- “Aucassin and Nicolette” (“Two Early French Stories”) (1873), 32–3, 38.
- “Joachim du Bellay,” 33, 44–5.
- “Leonardo da Vinci, Notes on” (1869), 32, 41, 42–3, 49, 177.
- “Luca della Robbia,” 33, 39.
- “Michelangelo, Poetry of,” 32, 39–40.
- “Pico della Mirandola” (1871), 32, 38–9.
- “Sandro Botticelli, A Fragment on,” 32, 39.
- “School of Giorgione, The” (1877), 43–4, 50–1, 66.
- “Winckelmann” (1866), 27–31, 45.
- Robert Elsmere (Mrs. H. Ward), 57,
- review on, 119, 198–9.
- “Rossetti, Dante Gabriel” (Ward’s English Poets), essay on, 86–7.
- Ruskin, John, 7, 51, 163, 185, 214–15.
- S
- “Shadows of Events” (Gaston de Latour), 140.
- Shadwell, 2.
- Shadwell, Dr. Charles Lancelot (Pater’s lifelong friend), 9, 10 n.;
- as literary executor, 21.
- “Solomon, The Judgment of” (picture), 51.
- Stevenson, R. L., 205–6.
- “Stormy Landscape, The” (“Adrastus and Hypsipyle”) (picture), 50, 51.
- “Style,” see Appreciations.
- Swinburne, Mr. A., 21.
- Symons, Mr. Arthur, 21, 123.
- T
- Tailor, The (Moroni’s), 123.
- Telemachus, 26.
- U
- Uthwart, Emerald, see Miscellaneous Studies.
- V
- Verrocchio, 49.
- W
- Ward, Mr. Humphry, 18,
- anecdote touching Pater’s lectures, 20;
- Fellow of Brasenose, 21;
- description of Pater, 22;
- as tutor, 25;
- spends summer vacation with, 26;
- on Pater as a Fellow, 84, 199.
- Warren, Mr. T. H., 21, 159, 174–5.
- Watteau, Anthony, 124–5;
- Pater’s most ambitious creation, 125, 131.
- Westminster Review, first published writings in, 12.
- Winckelmann, Life of (Otto Jahn), 14.
- “Winckelmann,” Pater’s study on, see Renaissance.
- “Wordsworth,” Study of, 60–2;
- review of, 119.