Titlebook: British Aestheticism and Ancient Greece; Hellenism, Reception Stefano Evangelista Book 2009 Palgrave Macmillan, a division of Macmillan Pub

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,Pater, ‘Winckelmann’, and the Aesthetic Life, an incongruous addition to his studies of Renaissance artists, which mainly deal with the fifteenth and sixteenth centuries in Italy and France, ‘Winckelmann’ should be read as the foundation of Pater’s first book: it contains the original formulation of his concept of renaissance as, in Pater’s wo

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Vernon Lee and the Aesthetics of Doubt, and method of Pater’s early writings in order to launch an attack against the use of didacticism and ethical principles in art criticism. Lee was only 25 but she had already made her name known, the previous year, as the author of . (1880). At the time of the publication of . she was paying her fir

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,‘Two Dear Greek Women’: The Aesthetic Ecstasy of Michael Field,ould later form the prolific poetic duo ‘Michael Field’, active under this professional name between 1884 and 1913, the year of Cooper’s death. The ode, which remained unpublished during the author’s lifetime, contains an early statement of what became the poetic mission of Michael Field: to use poe

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,Pater, ‘Winckelmann’, and the Aesthetic Life,‘Winckelmann’ is a virtuoso piece. It is ostensibly a review of wo recently published volumes, Heniy Lodge’s 1850 translation of Winckelmann’s . and Otto Hahn’s . (1866); but it is also a biographical study of Winckelmann in its own right; it is a critique of ancient Greek art and a critique of Winc

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,‘Two Dear Greek Women’: The Aesthetic Ecstasy of Michael Field,w as a sign of dedication and blessing. Cooper undertakes her calling with the fervour of religious fanaticism. From the rich iconography of the god, she chooses the bow and arrows rather than the lyre as instruments of the divine power of poetry: inspired by Apollo, Cooper imagines piercing the hea