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Synopsis: A TWENTIETH-CENTURY intellectual of the first rank presents the case for the nineteenth-century aesthetician whose elegant subversions delivered us to modernism. Walter Pater (1839-1894) was an obscure Oxford don until 1873, when his first book, The Renaissance, exposed his argument favoring sensation over though and, in doing so, ignited a hard, gem-like flame. “Say not what it is but what it makes you see—or feel is not something Pater ever said, but it will suffice as an encapsulation of an attitude that moved the authority of a work of art from the object to the subject, subsequently outra