Thus much for the premises--next to the re-establishment of
principles.
1st. The principle was elicited, that Fine Art should regard the
general happiness of man, by addressing those of his attributes which
are _peculiarly human_, by exciting the activity of his rational and
benevolent powers; and thereafter:--2nd, that the Subject in Art
should be drawn from objects which so address and excite him; and
3rd, as objects so exciting the mental activity may (in proportion to
the mental capacity) excite it to any amount, and so possibly in the
highest degree (the function of Fine Art being _mental excitement_,
and that of High Art being the _highest mental excitement_) that all
objects so exciting mental activity and emotion in the highest
degree, may afford subjects for High Art.
Having thus re-stated the premises and principles already deduced,
let us proceed to enquire into the propriety of selecting the Subject
from the past or the present time; which enquiry resolves itself
fundamentally into the analysis of objects and incidents experienced
immediately by the senses, or acquired by mental education.
Here then we have to explore the specific difference between the
incidents and objects of to-day, as exposed to our daily observation,
and the incidents and objects of time past, as bequeathed to us by
history, poetry, or tradition.
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