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, 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.