appears that these
_esculent_ subjects might be poetical enough if exhibited all
together, _i.e._, they must be surrounded with eatables, like
a possibly-poetical-pheasant in a poulterer's shop.

Longer stress has been laid upon this subject, "Still Life," than
would seem justified by its insignificance, but as this is a branch
of art which has never aspired to be 'High Art,' it contains
something definite in its character which makes it better worth the
analysis than might appear at first sight; but still, as a latitude
has been taken in the investigation which is ever unavoidable in the
handling of such mercurial matter as poetry (where one must spread
out a broad definition to catch it wherever it runs), and as this is
ever incomprehensible to such as are unaccustomed to abstract
thinking, from the difficulty of educing a rule amidst an infinite
array of exceptions, and of recognising a principle shrouded in the
obscurity of conflicting details; it appears expedient, before
pursuing the question, to reinforce the first broad elementary
principles with what definite modification they may have acquired in
their progress to this point in the argument, together with the
additional data which may have resulted from analytic reference to
other correlative matter.

First then, as Fine Art delights in proportion to the delectating
interest of the objects it depicts, and, as subsequently stated,
grieves or distresses in proportion as the objects are grievous or
distressing, we have this resultant: "Fine Art _excites_ in
proportion to the excitor influence of the object;" and then, that
"_fine art_ excites either the sensory or the mental faculties, in a
like proportion to the excitor properties of the objects
respectively." Thus then we have, definitely stated, the powers or
capabilities of _Fine Art_, as regulated and governed by the objects
it selects, and the objects it selects making its subject. Now the
question in hand is, "what the nature of that _subject_ should be,"
but the _subject_ must be according to what Fine Art proposes to
effect; all then must depend upon this proposition. For if you
propose that Fine Art shall excite sensual pleasure, then such
objects as excite sensual pleasure should form the _subject_ of Fine
Art; and those which excite sensual pleasure in the highest degree,
will form the _highest subject_--'High Art.' Or if you propose that
Fine Art shall excite a physical energetic activity, by addr