But then, the Church, that new Sibyl, had a thousand secrets to make the absent near. Into this kingdom of reverie, and with it into a paradise of ambitious refinements, the earthly love enters, and becomes a prolonged somnambulism. Of religion it learns the art of directing towards an unseen object sentiments whose natural direction is towards the objects of sense. Hence a love defined by the absence of the beloved, choosing to be without hope, protesting against all lower uses of love, barren, extravagant, antinomian....
Here, under this strange complex of conditions, as in some medicated air, exotic flowers of sentiment expand, among people of a remote and unaccustomed beauty, somnambulistic, frail, androgynous, the light almost shining through them. Surely, such loves were too fragile and adventurous to last more than for a moment. 522
Complex and subtle interests, which the mind spins for itself, may occupy art and poetry or our own spirits for a time; but sooner or later they come back with a sharp rebound to the simple elementary passions--anger, desire, regret, pity, and fear: and what corresponds to them in the sensuous --bare, abstract fire, water, air, tears, sleep, silence, and what De Quincey has called the "glory of motion." p. 525
Desire here is towards the body of nature for its own sake, not because a soul is divined through it. p. 525
Every moment some form grows perfect in hand or face; some tone on the hills or the sea is choicer than the rest; some mood of passion or insight is irresistibly real and attractive to us,--for that moment only. Not the fruit of experience, but experience itself, is the end. p.188
To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life. p.189
Great passions may give us this quickened sense of life, ecstasy and sorrow of love, the various forms of enthusiastic activity, disinterested or otherwise, which come naturally to many of us. Only be sure it is passion--that is does yield you this fruit of a quickened, multiplied consciousness--of such wisdom, the poetic passion, the desire of beauty, the love of art for its own sake, has most. For art comes to you proposing frankly to give nothing but the highest quality to your moments as they pass, and ' moments' sake. p.190
And because it was the perfection of that style, it awoke in Leonardo some seed of discontent which lay in the secret places of his nature. For the way to perfection is through a series of disgusts...p.81
To define beauty, not in the most abstract but in the most concrete terms possible, to find not its universal formula, but the formula which expresses most adequately this or that special manifestation of it, is the aim of the true student of aesthetics.[viii]
The aesthetic critic, then, regards all the objects with which he has to do, all works of art, and the fairer forms of nature and human life, as powers or forces producing pleasurable sensations, each of a more or less peculiar or unique kind. This influence he feels, and wishes to explain, by analysing and reducing it to its elements. To him, the picture, the landscape, the engaging personality in life or in a book, La Gioconda, the hills of Carrara, Pico of Mirandola, are valuable for their virtues, as we say, in speaking of a herb, a wine, a gem; for the property each has of affecting one with a special, a unique, impression of pleasure. Our education becomes complete in proportion as our susceptibility to these impressions increases in depth and variety. And the function of the aesthetic critic is to distinguish, to analyse, and separate from its adjuncts, the virtue by which a picture, a landscape, a fair personality in life or in a book, produces this special impression of beauty or pleasure, to indicate what the source of that impression is, and under what conditions it is experienced. His end is reached when he has disengaged that [x] virtue, and noted it, as a chemist notes some natural element, for himself and others; and the rule for those who would reach this end is stated with great exactness in the words of a recent critic of Sainte-Beuve:--De se borner a connaître de pres les belles choses, et a s'en nourrir en exquis amateurs, en humanistes accomplis.
What is important, then, is not that the critic should possess a correct abstract definition of beauty for the intellect, but a certain kind of temperament, the power of being deeply moved by the presence of beautiful objects. He will remember always that beauty exists in many forms. To him all periods, types, schools of taste, are in themselves equal.
For us the Renaissance is the name of a many-sided but yet united movement, in which the love of the things of the intellect and the imagination for their own sake, the desire for a more liberal and comely way of conceiving life, make themselves felt, urging those who experience this desire to search out first one and then another means of intellectual or imaginative enjoyment, and directing them not only to the discovery of old and forgotten sources of this enjoyment, but to the divination of fresh sources thereof--new experiences, new subjects of poetry, new forms of art.
In this, as in other things, he prefigures the character of the Renaissance, that movement in  which, in various ways, the human mind wins for itself a new kingdom of feeling and sensation and thought, not opposed to but only beyond and independent of the spiritual system then actually realised.
And it is in this penetrative suggestion of life that the secret of that sweetness of his is to be found. He gives us indeed no lovely natural objects like Leonardo or Titian, but only the coldest, most elementary shadowing of rock or tree; no lovely draperies and comely gestures of life, but only the austere truths of human nature;...but he penetrates us with a feeling of that power which we associate with all the warmth and fullness of the world, the sense of which brings into one's thoughts a swarm of birds and flowers and insects. The brooding spirit of life itself is there; and the summer may burst out in a moment.
That strange interfusion of sweetness and strength is not to be found in those who claimed to be his followers; but it is found in many of those who worked before him, and in many others down to our own time, in William Blake, for instance, and Victor Hugo, who, though not of his school, and unaware, are his true sons, and help us to understand him, as he in turn interprets and justifies them. Perhaps this is the chief use in studying old masters.
It was a life of brilliant sins and exquisite amusements: Leonardo became a celebrated designer of pageants; and it suited the quality of his genius, composed, in almost equal parts, of curiosity and the desire of beauty, to take things as they came.
Curiosity and the desire of beauty--these are the two elementary forces in Leonardo's genius; curiosity often in conflict with the desire of beauty, but generating, in union with it, a type of subtle and curious grace.
the sensuous material of each art brings with it a special phase or quality of beauty, untranslatable into the forms of any other, an order of impressions distinct in kind--is the beginning of all true aesthetic criticism. (131)
All art constantly aspires towards the condition of music. (135)