 Within this framework of concerns and influences, Hume is neither interested in working out a theory of art (in contributing to philosophy of art) nor in analyzing aesthetic properties (in doing aesthetics). Although he is aware of debates about the nature of the sublime and recognizes it as a category of artistic achievement (SOT, 281), he offers no theory of the sublime. An attempt to pull together a Humean account is made by Hipple (1967, pp. 42–44). Due to the seamless connection Hume posits between moral and aesthetic value, much of his technical discussion of aesthetics appears only as an illustration of his moral theory. Other details of Hume’s aesthetics emerge in contexts where he expounds his theory of imaginative association (EHUa, 102–7), elaborates on the value of delicacy of taste (DOT), and denies that his appeal to sentiment leads to skepticism about value distinctions (S, 217–19). Consequently, a reading that emphasizes “Of the Standard of Taste” at the expense of the Treatise and Enquiries shortchanges the theory’s complexity.