or religious
procession.

As to the first class in "the round," as they seem to appeal to the
intellectual, and often to the moral faculties, they are naturally,
and according to the broad definition, works of 'High Art.' Of the
relievo, the historical combat appeals to the passions; and, being
historical, probably to the intellect. The like may be said of the
conversational groups, and lyrical recitation which follow. The dance
appeals to the passions and the intellect; since the intellect
recognises therein an order and design, her own planning; while the
solemn, modest demeanour in the religious procession speaks to the
heart and the mind. The same remarks will apply to the few ancient
paintings we possess, always excluding such merely decorative works
as are not fine art at all.

Thus it appears that all these works of the ancients _might_
rationally have been denominated works of 'High Art;' and here we
remark the difference between the hypothetical or rational, and the
historical account of facts; for though here is _reason_ enough why
ancient art _might_ have been denominated 'High Art,' that it _was_
so denominated on this account, is a position not capable of proof:
whereas, in all probability, the true account of the matter runs
thus--The works of antiquity awe us by their time-hallowed presence;
the mind is sent into a serious contemplation of things; and, the
subject itself in nowise contravening, we attribute all this potent
effect to the agency of the subject before us, and 'High Art,' it
becomes _then_ and _for ever_, with all such as "follow its cut." But
then as this was so named, not from the abstract cause, but from a
result and effect; when a _new_ work is produced in a similar spirit,
but clothed in a dissimilar matter, and the critics have to settle to
what class of art it belongs,--then is the new work dragged up to
fight with the old one, like the poor beggar Irus in front of
Ulysses; then are they turned over and applied, each to each, like
the two triangles in Euclid; and then, if they square, fit and tally
in every quarter--with the nude to the draped in the one, as the nude
to the draped in the other--with the standing to the sitting in the
one, as the standing to the sitting in the other--with the fat to the
lean in the one, as the fat to the lean in the other--with the young
to the old in the one, as the young to the old in the other--with
head to body, as head to body; and nose to knee,