Walter Pater’s ‘strange veil of sight’
in Second sight
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter examines how, in Pater, a writer heavily associated with sensory relations, there is a strong pull to the visionary or unseen. It explores his obsession with the strange visionary phantasm or trace he calls character, which appears as a refined essence in all perfected form, this process of refinement drawing on Romantic descriptions of literary alchemy. Death and the process of sculptural subtraction present alternative versions of this refinement as, for Pater, this essence is most potently legible in the sculptural body and the beautiful corpse that preserves the marks of life in death. Although most evidently present in comely young men, it is none the less theorised by him as a principle epitomised in Persephone, the young woman snatched away at the height of her youth and beauty to dwell as life-in-death in the Underworld. Such images, again progenitors of the Romantic Image, illuminate the process whereby all aesthetic images stage the uncanny life-in-death and death-in-life of the objects they represent.

Second sight

The visionary imagination in late Victorian literature


All Time Past Year Past 30 Days
Abstract Views 30 12 0
Full Text Views 15 4 0
PDF Downloads 15 5 0