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Victorian Decorative Arts and Oscar Wilde
Chief among the literary practitioners of decoratively aesthetical hermeneutic facticity was Oscar Wilde, who advocated Victorian decorative individualism in speech, fiction, and essay-form. Wilde’s notion of cultural enlightenment through visual cues echoes that of Alexandre von Humboldt who maintained that imagination was not the Romantic figment of scarcity and mystery but rather something anyone could begin to develop with other methods, including organic elements in pteridomania[ ].

By changing one’s immediate dwelling quarters, one changed one’s mind as well[ ]; Wilde believed that the way forward in cosmopolitanism began with as a means eclipse the societally mundane, and that such guidance would be found not in books in classrooms, but by Platonic epistemology. An aesthetic shift in the home’s Victorian decorative arts reached its highest outcome in the literal transformation of the individual into cosmopolitan, as Wilde was regarded and noted among others in his tour of America.

For Wilde, however, the inner meaning of Victorian decorative arts is fourfold: one must first reconstruct one’s inside so as to grasp what is outside in terms of both living quarters and mind, whilst hearkening back to von Humboldt on the way to Plato so as to be immersed in contemporaneous cosmopolitanism, thereby ideally becoming oneself admirably aesthetical.