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Walter Horatio Pater gives art critic's some very pertinent advice regarding what constitutes authentic beauty in aestheticism in the general schema of very good art criticism. He clarifies beauty as being something which doesn't have any formula, that it's something we find during our personal experiences, feelings, and senses; through this we can, according to Pater, "see the thing as in itself it really is." Thus, with this idea in mind, art critics must discover the origin of exactly what sparked their interest in the first place, being the impression of beauty and pleasure. Pater describes to us who the aesthetic critic needs to differentiate, analyze, and separate any confounding variables that resulted in the origin of his impression as well as also the terms which generated it. He creates a decent analogy for aesthetic criticism as being something similar to the way the chemist makes notes to describe some natural element. This is the ideal analogy because the chemist must analyze the organic elements to others in a means that's both eminent and critical to their comprehension of whatever it is that they are seeing. Consequently, his goal is the same rationale as the aesthetic critic's is always to be, that of assessing the items and reducing it down to its bare element; hence distilling its true intention of being there. Lastly, Pater argues that it is extremely important for the art critic to have no preset definition of what is abstract attractiveness; but rather to have a certain sort of feature in their personality, being of one who is aroused and in a state of kid like ecstasy in seeing any real work of art. Pater picked the Renaissance to make his points about aesthetic criticism for several factors. He had been both affected by the sheer intellect and imaginatio...