e the work of human ingenuity.

Now the subject to be treated, is the 'subject' of Painter and
Sculptor; what ought to be the nature of that 'subject,' how far that
subject may be drawn from past or present time with advantage, how
far the subject may tend to confer upon its embodiment the title,
'High Art,' how far the subject may tend to confer upon its
embodiment the title 'Low Art;' what is 'High Art,' what is 'Low
Art'?

To begin then (at the end) with 'High Art.' However we may differ as
to facts, the principle will be readily granted, that 'High Art,'
_i.e._ Art, par excellence, Art, in its most exalted character,
addresses pre-eminently the highest attributes of man, viz.: his
mental and his moral faculties.

'Low Art,' or Art in its less exalted character, is that which
addresses the less exalted attributes of man, viz.: his mere sensory
faculties, without affecting the mind or heart, excepting through the
volitional agency of the observer.

These definitions are too general and simple to be disputed; but
before we endeavour to define more particularly, let us analyze the
subject, and see what it will yield.

All the works which remain to us of the Ancients, and this appears
somewhat remarkable, are, with the exception of those by incompetent
artists, universally admitted to be 'High Art.' Now do we afford them
this high title, because all remnants of the antique world, by
tempting a comparison between what was, and is, will set the mental
faculties at work, and thus address the highest attributes of man?
Or, as this is owing to the agency of the observer, and not to the
subject represented, are we to seek for the cause in the subjects
themselves!

Let us examine the subjects. They are mostly in sculpture; but this
cannot be the cause, unless all modern sculpture be considered 'High
Art.' This is leaving out of the question in both ages, all works
badly executed, and obviously incorrect, of which there are numerous
examples both ancient and modern.

The subjects we find in sculpture are, in "the round," mostly men or
women in thoughtful or impassioned action: sometimes they are indeed
acting physically; but then, as in the Jason adjusting his Sandal,
acting by mechanical impulse, and thinking or looking in another
direction. In relievo we have an historical combat, such as that
between the Centaurs and Lapithae; sometimes a group in conversation,
sometimes a recitation of verses to the Lyre; a dance,