Abstract Walter Pater’s unfinished historical novel Gaston de Latour (1888–94), set during the French Wars of Religion in the late sixteenth century, operates on a complex monochromatic colour symbolism that ties the colours of sixteenth-century French art together with a late nineteenth-century synaesthesia. This article explores the ways in which Pater engaged with James Abbot McNeill Whistler, John Ruskin, Emilia Pattison, Alexandre Dumas, and Charles Baudelaire in his evocation of the aesthetics of Renaissance France. While also being profoundly involved with the historiography, biography, prose, and poetry of sixteenth-century France, Pater let the colours of the past rise to the surface of his text, transforming them for his own purpose. His highly idiosyncratic use of the colour schemes and materials of Renaissance art alerts us to the clashes between north and south, the Flemish and the Italianate influences on French Renaissance art, the complexities of portraiture, line versus colour, and a golden palette contrasted with a blue one. Pater’s carefully controlled colour symbolism, often moving within a Whistlerian monochromatic scale, gives highly aestheticized depictions of ugliness, in inter-human relationships on both a national and a personal level, thus exposing the subversive powers of beauty. As we dig beneath the beautiful surface, horror and ugliness abound, inviting us to think more broadly about decadence as a recurrent phenomenon.

中文翻译：

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黑色和灰色的交响曲，钢铁的和谐曲：沃尔特·帕特（Walter Pater）在加斯顿·拉图尔（Gaston de Latour）画法国宗教战争

摘要沃尔特·帕特（Walter Pater）未完成的历史小说《加斯顿·拉图尔（Gaston de Latour）（1888-94）》，背景是16世纪后期的法国宗教战争期间创作的，其作品采用了复杂的单色色彩象征主义，将十六世纪的法国艺术色彩与十九世纪后期的色彩联系在一起世纪联觉。本文探讨了Pater与James Abbot McNeill Whistler，John Ruskin，Emilia Pattison，Alexandre Dumas和Charles Baudelaire交往的方式，以唤起法国文艺复兴时期的美学。帕特（Pater）不仅深深地参与了16世纪法国的史学，传记，散文和诗歌，还让过去的色彩浮现在他的文字中，并为自己的目的对其进行了改造。他对文艺复兴时期艺术的配色方案和材料的高度特质使用使我们警觉到南北之间的冲突，佛兰芒人和意大利人对法国文艺复兴时期艺术的影响，肖像画的复杂性，线条与色彩以及金色的调色板与蓝色的。帕特（Pater）精心控制的色彩象征主义（通常在惠斯勒单色色彩范围内移动）在国家和个人层面的人际关系中对丑陋进行了高度美学的描绘，从而揭示了美丽的颠覆力量。当我们在美丽的表面下挖掘时，恐怖和丑陋比比皆是，这促使我们更广泛地将decade废视为一种复发现象。线条与色彩的对比，金色的调色板与蓝色的对比。帕特（Pater）精心控制的色彩象征主义（通常在惠斯勒单色色彩范围内移动）在国家和个人层面的人际关系中对丑陋进行了高度美学的描绘，从而揭示了美丽的颠覆力量。当我们在美丽的表面下挖掘时，恐怖和丑陋比比皆是，这促使我们更广泛地将decade废视为一种复发现象。线条与色彩的对比，金色的调色板与蓝色的对比。帕特（Pater）精心控制的色彩象征主义（通常在惠斯勒单色色彩范围内移动）在国家和个人层面的人际关系中对丑陋进行了高度审美化的描绘，从而揭示了美丽的颠覆力量。当我们在美丽的表面下挖掘时，恐怖和丑陋比比皆是，这促使我们更广泛地将decade废视为一种复发现象。