This chapter traces the history of essay writing about art in Britain from the early nineteenth century to the present day. Developing out of eighteenth-century periodical essays, a more individualistic approach to art writing begins with Romantic essayists like William Hazlitt. For John Ruskin, the essay offered a means to connect his personal responses to the visual arts with a larger project of social and moral reform, while for his aestheticist successors, it enabled an exploration of the affective dimensions of those responses. For modernist writers like Virginia Woolf, Samuel Beckett, Wyndham Lewis, or D.H. Lawrence, faced with the institutionalisation of art history, the art essay offered a testing ground for questioning assumptions about medium specificity or experimentation that animated their fiction. For contemporary writers from John Berger to W.G. Sebald, the proximity of the art essay to life writing has enabled the blurring of boundaries between essay, fiction, and autobiography.

A period of significant demographic, social, and political transformation produced essays marked by a deep seriousness of tone and a sense of weighty purpose that departed sharply from the playful quality of the periodical tradition and the lighter touch of the Romantic familiar essay. Essayists in criticism of this period (Matthew Arnold, Walter Pater, William Morris, Oscar Wilde) were deeply engaged in defining ideas of culture that could encompass an increasingly diverse and fragmented society. This chapter reflects on the publication contexts that shaped some of the best-known examples of the Victorian critical essay; examines Victorian critics’ emphasis on specific capacities in perception as a ground for pedagogical exposition with the aim of achieving social coherency; and highlights the deep historicism and awareness of mediation that informs the Victorian essayist’s approach to cultural criticism.

A distinctive feature of Pater’s oeuvre is that, like many French critics of his generation, he wrote both literary and art criticism; in this respect his work parallels that of Dante Gabriel Rossetti, poet and painter. The chapter argues that, if Jerome McGann is right to describe Pater’s essay on Rossetti as ‘the best single study of Rossetti’s poetry we have’, that is because Pater provides the most persuasive interpretation of this double aspect of Rossetti’s work. The essay is densely intertextual with other writings of Pater’s in ways that can be surprising: verbal cross-references link Rossetti not only to his own chosen precursors (Dante as well as Blake and Michelangelo) but also to Gautier and Baudelaire, and, more importantly, to Plato. Thus it plays a more significant role in Pater’s overall critical project than previous scholars have recognised, not least explaining to us a historical fact that may seem difficult to understand: the extraordinary influence of Rossetti on both painters and poets of his own and succeeding generations, an influence out of all proportion, some may think, to his actual achievement in either art form.

Pater describes the writings of Charles Lamb as ‘an excellent illustration of the value of reserve in literature’. The remark is surprising because Lamb more often is celebrated for the warm familiarity of his essays rather than the withholding and coolness associated with reserve. It is Pater himself who was famed for his reserve, shy in company and elusive in his writing. But his essay on Lamb identifies a different quality of reserve and the different ways in which it can operate as an element of literary style. The humour of Lamb’s writing is a form of reserve that conceals the tragic facts of his life. Such concealment works through excess and deflection, masking the personal without seeming too remote or buttoned-up. What Pater values in Lamb provides insight into the peculiar reserve of his own writing, with its paradoxical mix of the personal and impersonal, and its style that is at once so elusive and so individually distinctive.

The closing phase of Pater’s 1868 review, ‘Poems by William Morris’, reappeared in 1873 as his Conclusion to The Renaissance. This chapter takes Pater’s engagement with Morris – both initially, and in these altered contexts – as a basis for thinking about his contribution to the development of English Studies. His evaluative criteria and methodology are also germane: what Pater values in Morris also envisions what he values in literature more generally. His account of ‘flux’ and perceptualism are familiar; but in the Morris review Pater is drawn more insistently to analogies with water – a fluidity expressing his aversion to walls, whether cultural or material, and a toleration of literature in dilution. Dilution is not commonly associated with literary virtues, not least because the twentieth-century re-founders of English tended to value concentration and concretion over any impression of looseness or dispersal. It is argued, however, that Pater recovers value from dilution – indeed, a dynamisation – though engagement with the language of cures associated with the then-fashionable alternative medicine of homeopathy.

The relationship between the arts was central to Pater. Although Pater never devoted a whole essay to Blake, his name surfaces in discussions about form and style, soul and mind. This chapter traces Pater’s engagement with Blake, focusing on Blake’s function in Pater’s anachronic poetics. He appreciates Michelangelo through Hugo and Blake, who features as a ‘“survival” from a different age’ in essays on Demeter and Dionysus. Exhibitions in 1871 and 1876 present Blake’s allegorical portraits of Pitt, Nelson, and Napoleon as ‘Spiritual Forms’, a dystopian title Pater paradoxically repurposed to capture an embodied aesthetic and heal the separation between form and content. Comparison with Blake’s Descriptive Catalogue (1809) reveals how both Blake and Pater look to sculpture to develop an ideal of the human form divine. Explicit references to Blake’s illustrations to Job and Robert Blair’s The Grave reveal the role played by visual images in Pater’s writing, illuminating the inter-art dynamics of his critical practice. Pater’s Blake brings out a discipline of literary form that is shaped by a multisensorial aesthetic.

Pater acquired a copy of William Carew Hazlitt’s new edition of Montaigne’s Essays published in 1877. This chapter begins by drawing out similarities in the reception of Pater and Montaigne, both of whose writings were assailed for their egotism, scepticism, and sensuality. Such parallels laid the foundations for Pater’s adoption of Montaigne as a proxy for defending his own critical enterprise. Pater’s highly revisionist account of Montaigne hails him not only as a far subtler thinker and moralist than had hitherto been acknowledged in his English reception, but also as a model of aesthetic finesse, demonstrated above all in his engagement with literature. Rather than contesting the charge of self-centredness, Pater defends Montaigne’s incisive interest in his own various and volatile responsiveness as the essential precondition for any criticism worth having. Curious and sociable, the Selfish Reader as represented by Montaigne cherishes the opportunity to view things from different angles and to probe new possibilities for the self, which is never simply given but always at stake in its encounters.

The Introduction frames a collection that makes the case for Pater’s importance for the study of English literature, bringing to the fore key themes and preoccupations and thus underlining the unity and coherence of the book. Discussion starts in 1886 when the Pall Mall Gazette asked writers, intellectuals, and educators to comment on the proposal by J. Churton Collins to establish a School of English at the University of Oxford; Pater’s writings on literature are looked at in the light of institutional debates and developments in literary criticism at this time. The Introduction explores in detail Pater’s commitment to what, in the ‘Preface’ to The Renaissance, he calls ‘aesthetic criticism’, derived in part from German philosophical aesthetics, and what he intends by his stress on ‘style’ and ‘form’. Finally it looks at Pater’s conception of education as dialogic process, stemming in particular from Plato and Montaigne, and the role his use of the essay plays in that process; the case is made that Pater has much to offer us when we think about desirable forms of English Studies for today that are neither nationalistic nor exceptionalist but cosmopolitan.

This chapter engages various philosophical attempts to define and delimit the essay, and to use the form to do a kind of philosophy that became increasingly urgent in the shadow of twentieth-century atrocities. The author considers theories of the essay by Georg Lukács, Theodor Adorno, Roland Barthes, Walter Benjamin, Walter Pater, and others.

This chapter details how the essay form participated in changes in conduct, tact, and ways of living in nineteenth-century England, promoting an “ethics of unknowing” that was constantly subject to experimentation and revision. Particular attention is paid to essayists such as William Hazlitt and Charles Lamb, who continued the Montaignean tradition in ways that responded to the urbanized modernity of the capitalist metropolis.

Chapter 2 examines the significance of the association between music and masochism in texts by Walter Pater, Vernon Lee and Arthur Symons. Here music is variously figured as acting upon the body in a manner that resists the imposition of identity and refuses the coherence of the self, while turning instead to modes of self-abandonment and disembodiment. Music in Pater’s ‘Denys l’Auxerrois’ dramatizes a broader oscillation in his works between the denial and embrace of wilfully self-destructive masochistic violence. In ‘Marsyas in Flanders’ (1900), Vernon Lee strategically embraces the figure of Marsyas – an emblem of musical masochism – as a means of resisting the categorization of the queer body by fin-de-siècle sexology. In Symons’s ‘Christian Trevalga’ (1902) music becomes associated with a desire to abandon the materiality of the body and affirm instead a form of subjectivity defined by ‘disembodiment’. Symons’s essays on music and musical performance present the aesthetic autonomy of absolute music in a manner that articulates a form of dispersed subjectivity that can profitably be read in the light of contemporary queer theory.

In Chapter 2, I explore Walter Pater’s turn to Classical paganism to formulate his vision of the individual subject as dissipated through a range of spaciotemporal landscapes. Situating Pater’s Studies in the History of the Renaissance (1873) and Marius the Epicurean (1885) within the context of scientific claims by Charles Darwin, Ernst Haeckel, and Antonio Stoppani, the chapter articulates the way in which Pater’s paganism melds the Classical with recent scientific developments to present a sympathetic fusion of humans, other animals, plants, atmosphere, landscape, cultures, and even architecture. In the process, the chapter also address the ways in whih people such as Stoppani turned to metaphors and methods of comprehension rooted in Classical mythology to formulate, in his case, a pseudo-scientific, Christian conception of the rise of the Anthropocene.

Decadence turned to paganism to grasp not only animal intimacies but also engagements with the environment more generally. Building on the queer trans-species intimacies articulated by Swinburne, Pater, Solomon, and Field, Chapter 4 addresses Robert Louis Stevenson’s and Vernon Lee’s renderings of the environment as genius loci. As I argue, for Stevenson and Lee the genii locorum are not fixed locations in nature but ecological entanglements among animal and vegetal species, geographic formations, and climate. Stevenson and Lee extend Pater’s ecological correspondences by presenting the immersive experiences of the peripatetic as sensual and psychological engagements with nature that result in a more vital identification outside the self. And in situating their analyses within the growing cultural practice of the nature walk, their writings redefine the genius loci as a dynamic engagement suggestive of early environmentalism.

This chapter considers the importance of life writing to the development of Decadent literary production and to the afterlives of the Decadent movement. Beginning with Walter Pater, we explore the creative approach Decadent writers took to biography and the imagined fictional life. If Wilde, Pater, and John Addington Symonds established the pattern of Decadent life writing, Charles Ricketts and Laurence Housman deployed its practices and politics as they recalled Wilde’s tragic downfall and early death. In the early years of the twentieth century the history of British literary Decadence was still very much contested, and alongside life writing emerged the memoir and the period study that framed the 1890s in relation to the literary innovations of modernism. The creative approach to Decadent life writing waned in the second half of the twentieth century as professional literary critics sought to develop authoritative versions of Decadent biography, a practice seemingly at odds with earlier Decadent practices.