This proposition may seem, to the great public which has so long and so well known him and his works, somewhat unnecessary. There are few who are not familiar with his paintings. Whether these seem great or otherwise, whether the Venus be pure or gross, we may not here discuss; the public has, and will have, many estimates; yet on one point there is no difference of opinion, apparently. The world willingly calls him whose hand wrought these pictures a painter. It has done so as a matter of course; and we accept the title.

But perhaps the title comes to us from this man's studio, charged with a significance elevating it above the simply self-evident, and rendering it worthy of the place we have given it as a germ proposition.

Not every one who uses pigments can say, "I also am a painter." To him who would make visible the ideal, there are presented the marble, the pencil, and the colors; and should he employ either of these, just in proportion to his obedience to the laws of each will he be a sculptor, a designer, or a painter; and the revelations in stone, in light and shade, or on canvas, shall be his witnesses forevermore,—witnesses of him not only as an artist, in view of his relation to the ideal world, but as possessing a right to the especial title conferred by the means which he has chosen to be his interpreter.

The world has too much neglected these means of interpretation. It has condemned the science which would perfect the art, as if the false could ever become the medium of the true. The art of painting has suffered especially from the influence of mistaken views.

Nor could it be otherwise. Color-manifestation, of all art-utterance, is the least simple. It requires the fulfilment of a greater number of conditions than are involved in any other art. He who has selected colors as his medium cannot with impunity neglect form; light and shade must be to him as important as they are to the designer in chiaro-scuro; while above all are the mystery and power of color.

There is perplexity in this. The science of form seems to be vast enough for any man's genius. No more than he accomplishes is demanded of the genuine sculptor. His life has been grand with noble fulfilments. We, and all generations, hold his name in the sacred simplicity which has ever been the sign of the consummate. Men say, Phidias, Praxiteles, and know that they did greatly and sufficiently.

Yet with the science which these men had we combine elements equally great, and still truth demands the consummate. Hence success in painting has been the rarest success which the world has known. If we search its history page by page, the great canvas-leaves written over with innumerable names yield us less than a score of those who have overcome the difficulties of its science, through that, achieving art, and becoming painters.

Yes, many men have painted, many great artists have painted, without earning the title which excellence gives. Overbeck, the apostle artist, whose rooms are sacred with the presence of the divine, never earned that name. Nor did thousands who before him wrought patiently and earnestly.

We think that we have among us a man who has earned it.

What does this involve? Somewhat more than the ability critically to distinguish colors and to use them skilfully.

Although practice may discipline and develop this power, there must exist an underlying physiological fitness, or all study and experience will be unavailing. In many persons, the organization of the eye is such that there can be no correct perception of the value, relation, and harmony of hues. There exists often an utter inability to perceive differences between even the primary colors.

The late sculptor Bartholomew declared himself unable to decide which of two pieces of drapery, the one crimson and the other green, was the crimson. Nor was this the result of inexperience. He had been for years familiar not only with Nature's coloring, but with the works of the best schools of art, and had been in continual contact with the first living artists.

The instances of this peculiar blindness are exceptional, yet not more so than is the perfection of vision which enables the eye to discriminate accurately the innumerable tints derived from the three primitives.

Nothing can be finer than the sense of identity and harmony resulting from this exquisite organization. We have been told that there is a workman at the Gobelin manufactory who can select twenty-two thousand tints of the material employed in the construction of its famous tapestries. This capability is, of course, almost wholly dependent upon rare physical qualifications; yet it is the basis, the very foundation of a painter's power.

Still, it is but the foundation. An "eye for color" never yet made any man a colorist.

Perhaps there can be no severer test of this faculty of perception than the copying of excellent pictures. And among the few successful copies which have been produced, Page's stand unsurpassed.

The ability to perceive Nature, when translated into art, is, however, a possession which this painter shares with many. Nor is he alone in the skill which enables him to realize upon his own canvas the effects which some master has rendered.

It is in the presence of Nature itself that a power is demanded with which mechanical superiority and physical qualifications have little to do. Here the man stands alone,—the only medium between the ideal and the outward world, wherefrom he must choose the signs which alone are permitted to become the language of his expression. None can help him, as before he was helped by the man whose success was the parent of his own. Here is no longer copying.

In the first place, is to be found the limit of the palette. Confining ourselves to the external, what, of all the infinitude of phenomena to which the vision is related, so corresponds to the power of the palette that it may become adequately representative thereof?

Passing over many minor points in which there seems to be an imperfect relation between Nature's effects and those of pigments, we will briefly refer to the great discrepancy occasioned by the luminosity of light. In all the lower effects of light, in the illumination of Nature and the revelation of colored surfaces, in the exquisite play and power of reflected light and color, and in the depth and richness of these when transmitted, we find a noble and complete response on the palette. But somewhere in the ascending scale a departure from this happy relation begins to be apparent. The color-properties of light are no longer the first. Another element—an element the essential nature of which is absorbed in the production of the phenomena of color—now asserts itself. Hitherto the painter has dealt with light indirectly, through the mediatorship of substances. The rays have been given to him, broken tenderly for his needs;—ocean and sky, mountain and valley, draperies and human faces, all things, from stars to violets, have diligently prepared for him, as his demands have arisen, the precious light. And while he has restrained himself to the representation of Nature subdued to the limit of his materials, he has been victorious.

Turner, in whose career can be found almost all that the student needs for example and for warning, is perhaps the best illustration of wise temperance in the choice of Nature to be rendered into art. Nothing can be finer than some of those early works wrought out in quiet pearly grays,—the tone of Nature in her soberest and tenderest moods. In these, too, may be observed those touches of brilliant color,—bits of gleaming drapery, perhaps,—prophetic flecks along the gray dawn. Such pictures are like pearls; but art demands amber, also.

When necessity has borne the artist out of this zone, the peaceful domain of the imitator, he finds himself impelled to produce effects which are no longer the simple phases of color, but such as the means at his disposal fail to accomplish. In the simpler stages of coloring, when he desired to represent an object as blue or red, it was but necessary to use blue or red material. Now he has advanced to a point where this principle is no longer applicable. The illuminative power of light compels new methods of manipulation.

As examples of a thorough comprehension of the need of such a change in the employment of means, of the character of that change, of the skill necessary to embody its principles, and of utter success in the result, we have but to suggest the name and works of Titian.

But the laws which Titian discovered have been unheeded for centuries; and they might have remained so, had not the mind of William Page felt the necessity of their revival and use. To him there could be no chance-work. Art must have laws as definite and immutable as those of science; indeed, the body in which the spirit of art is developed, and through which it acts, must be science itself. He saw, that, if exact imitation of Nature be taken as the law in painting, there must inevitably occur the difficulty to which we have before referred,—that, above a certain point, paint no longer undergoes transfiguration, thereby losing its character as mere coloring material,—that, if the ordinary tone of Nature be held as the legitimate key-note, the scope of the palette would be exhausted before success could be achieved.

Any one of Turner's latest pictures may serve to illustrate the nature of this difficulty. Although in his early practice he was remarkable for his judicious restraint, it is evident that the splendors of the higher phenomena of light had for him unlimited fascination; and he may be traced advancing cautiously through that period of his career which was marked by the influence of Claude, toward what he hoped would prove, and perhaps believed to be, a realization of such splendors.

It must have been observed by those who have studied his later pictures, that, while the low passages of the composition are wonderfully fine and representative, all the higher parts, those supposed or intended to stand for the radiance of dazzling light, fail utterly in representative capacity. There is an abundance of the most brilliant pigment, but it is still paint,—unmitigated ochre and white lead. The spectator is obliged to recede from the picture until distance enables the eye to transmute the offending material and reconcile the conflicting passages.

To accomplish the result of rendering the quality and effect of high light was one of the problems to which Mr. Page years ago turned his attention; and he found its solution in the transposition of the scale. The pitch of Nature could not be adopted as the immutable in art. That were impossible, unless art presumed to cope with Nature.

More than he, no man could respect the properties and qualities of the visible world. His ideas of the truthful rendering of that which became the subject of his pencil might seem preposterous to those who knew not the wonderful significancy which he attached to individual forms and tints. Yet, in imitation, where is the limit? What is possible? Must there be any sacrifice?

Evidently there must be; and of course it follows that the less important must be sacrificed. Nature herself has taught the artist that the most variable of all her phenomena is that of tone. Other truths of Nature have a character of permanency which the artist cannot modify without violating the first principles of art. He is required to render the essential; and to render the essential of that which art cannot sacrifice, if it would, and continue art, he foregoes the non-essential and evanescent.

Not only is this permitted,—it is demanded. It is a law through which alone success is attainable. In obedience to it, Mr. Page adopts a key somewhat lower than that of Nature as a point of departure, using his degrees of color frugally, especially in the ascending scale. With this economy, when he approaches the luminous effects of Nature, he finds, just where any other palette would be exhausted, upon his own a reserve of high color. With this, seeking only a corresponding effect of light in that lower tone which assumes no rivalry with the infinite glory of Nature, he attains to a representation fully successful.

We would not have it understood that a mere transposition of the scale is all that is required to accomplish such a result; only this,—that in no other way can such a result be secured. To color well, to color so that forms upon the canvas give back tints like those of the objects which have served as models, is only half the work. Quality, as well as color, must be attained. Local, reflected, and transmitted color can be imitated; but as in the attempt to represent light its luminousness is the element which defeats the artist, so, throughout Nature, quality, texture, are the elements which most severely test his power.

Could any indispensable truth be considered secondary, it might be assumed that rendering truthfully the qualities of Nature is the first and highest of art. The forms and colors of objects vary infinitely. It might be said that the law of all existence is, in these two particulars, that of change. From the time a human being is born until it disappears in the grave, from the day when the first leaves break the mould to that which sees the old tree fall, the form of each has been modified hourly.

But that which differentiates objects more completely than any other property is quality. The sky over us, and the waters of the earth, are subject to infinite variations. Yet, whether in the tiny drop that trembles at the point of a leaf or in the vast ocean-globe of our planet, in the torpor of forest-ponds or in the wrath of cataracts, water never loses its quality of wetness,—the open sky never that of dryness. These two characteristics are of course entirely the reverse of each other,—as unlike as are the properties of transparency and opacity,—which they involve.

So, throughout Nature, one truth, that of texture, is the distinguishing; and this distinctive element is that which cannot be sacrificed; for through it are Nature's finest laws manifested. And the painter finds in his obedience to her demands his highest power over the material which serves him in his efforts to embody the true and the beautiful.

It is, then, this which compels us to estimate Mr. Page a painter,—a man especially organized for his profession,—chosen by its demands,—set apart, by his wonderful adaptation to its requirements, from all the world. In virtue of this specialty, the necessity arose early in his life to seek excellence in his department of art,—to search the depths of its philosophy and discover its vital principles,—to analyze its methods and expose its errors. It led him to investigate the relation between the phenomena of Nature and the effects of painting; it guided him to a clear perception of the laws of art-translation; above all, it compelled him to practise what he believed to be the true.

Thus much of the painter;—now what of the artist?

It does not necessarily follow, that, because a man is a great painter, he is also a great artist. Yet we may safely infer, that, if he has been true in one department of the several which constitute art, he cannot have been false in others. Should there be a shortcoming, it must be that of a man whose mission does not include that wherein he fails. Fidelity to himself is all we should demand. We say this for those who are disposed to depreciate what an artist actually accomplishes, because in some one point Turner or Overbeck surpasses him. Nor do we say it apologetically. The man, who, basing his action upon the evident purpose of the organization which God has given him, fulfils his destiny, requires no apology.

We have seen something of the faithfulness which has marked Mr. Page's pursuit of excellence in the external of his art. He has wrought that which proves his claim to a broader title than that of painter. Were it not for the vagueness which involves the appellation of historical painter, it might be that. Even were we obliged to confine our interest and study to the portraiture which he has executed, we might, in view of its remarkable character, designate it as historical.

Than a really great portrait, no work of art can be more truly historical. We feel the subjectiveness of compositions intended to transmit facts to posterity,—and unless we know the artist, we are at a loss as to the degree of trust which we may place in his impressions. A true portrait is objective. The individuality of the one whom it represents was the ruling force in the hour of its production; and to the spirit of a household, a community, a kingdom, or an age, that individuality is the key. There is, too, in a genuine portrait an internal evidence of its authenticity. No artist ever was great enough to invent the combination of lines, curves, and planes which composes the face of a man. There is the accumulated significance of a lifetime,—subtile traces of failures or of victories wrought years ago. How these will manifest themselves, no experience can point out, no intuition can foresee or imagine. The modifications are infinite, and each is completely removed from the region of the accidental.

But, although details and their combinations in the human face and form cannot be wrought from the imagination, the truthfulness or falsity of their representation is instantly evident. It is because of this, that the unity of a portrait carries conviction of its truth and of the unimpeachability of its evidence, that this phase of art becomes so valuable as history. Compared with the worth of Titian's Philip II.,—the Madrid picture, of which Mr. Wild has an admirable study,—what value can be attached to any historical composition of its period?

It has not been the lot of Mr. Page to paint a mighty man, so inlocked with the rugged forces of his age. His sitters have come from more peaceful, nobler walks of life,—and their portraits are beloved even more than they are admired. Not yet are they the pride of pompous galleries, but the glory and saintliness of homes.

Could we enter these homes, and discuss freely the character of their treasures, we would gladly linger in the presence of the more precious. But so inseparably associated are they with their originals, so much more nearly related to them than to the artist, that no fitting analysis can be made of the representation without involving that of the individual represented.

Three portraits have, however, such wonderful excellence, and through this excellence have become so well known, that we may be forgiven for alluding to them. In a former paper, the writer spoke of the portrait of a man in his divinest development. The first of these three works is the representation of a woman, and is truly "somewhat miraculous." It is a face rendered impressive by the grandest repose,—a repose that pervades the room and the soul,—a repose not to be mistaken for serenity, but which is power in equilibrium. No brilliancy of color, no elaboration of accessories, no intricacy of composition attracts the attention of the observer. There is no need of these. But he who is worthy of the privilege stands suddenly conscious of a presence such as the world has rarely known. He feels that the embodiment before him is the record of a great Past, as well as the reflection of a proud Present,—a Past in which the soul has ever borne on through and above all obstacles of discouragement and temptation to a success which was its inheritance. He sees, too, the possibilities of the near Future; how from that fine equipoise the soul might pass out into rare manifestations, appearing in the sweetness and simplicity of a little child, in the fearful tumultuousness of a Lady Macbeth, in the passionate tenderness of a Romeo, or in the Gothic grandeur of a Scotch sorceress,—in the love of kindred, in the fervor of friendship, and in the nobleness of the truest womanhood.

Another portrait—can it have been painted in this century?—presents a widely different character. We have seen the rendering of a nature made too solemn by the possession of genius to admit of splendor of coloring. This picture is that of ripe womanhood, manifesting itself in the fulness of summer's goldenest light. Color, in all its richness as color, in all its strength as a representative agent, in all its glory as the minister of light, in all its significance as the sign and expression of plenitude of life,—life at one with Nature;—thus we remember it, as it hung upon the wall of that noble room in the Roman home of Crawford.

A later portrait, and one artistically the finest of Mr. Page's productions, although executed in Rome, has found a home in Cambridge. Here no grave subdual of color was called for, nor was there any need of its fullest power,—but, instead thereof, we have color in the purity of its pearl expression. A mild lustre, inexpressibly clear, seems to pervade the picture, and beam forth the revelation of a white soul. Shadows there are none,—only still softer light, to carry back the receding forms. But interest in technicalities is lost in the nobler sense of sweet influences. We are at peace in the presence of a peace which passeth all understanding. We are holy in the ineffable light of immortal holiness. We are blessed in the consciousness of complete harmony.

Surely, none but a great painter could have achieved such success; surely, no mere painter could thus have appealed to us.

These works we have chosen to represent the artist's power in the direction of portraiture,—not only because of their wonderful merit as embodiments of individualism, but to illustrate a law which has not yet had its due influence in art, but which must be the very life of its next revival, when painting shall be borne up until it marks the century.

We refer to the expressional power of color,—not the conventional significance whereby certain colors have been associated arbitrarily with mental conditions. This last has often violated all the principles of natural relation; yet no fact is more generally accepted than this,—that colors, from the intensity of the primitives to the last faint tints derived therefrom, bear fixed and demonstrable relations to the infinite moods and phases of human life. As among themselves the hues of the palette exist in immutable conditions of positive affinity or repulsion, so are they all related to the soul as definitely in harmony or in discord. There has been imperfect recognition of this at various times in the history of painting since the age of Giotto,—the most notable examples having occurred in the Venetian school.

But even in that golden age of art, this property of color was but rarely perceived and called into use under the guidance of principles. Still, the sense of the value and the harmonies of colors was so keen among the Venetian artists, that, intuitively, subjects were chosen which required an expression admitting of the most lavish use and magnificent display of color.

Paul Veronese, the splendor of whose conceptions seemed ever to select the pomp and wealth of banquets and ceremonies,—Giorgione, for whom the world revolved in an atmosphere of golden glory,—each had a fixed ideal of noble coloring; and it is questionable whether either ever modified that ideal for the sake of any expressional purpose.

Titian, from whom no property or capability of color was concealed, could not forego the power which he secured through obedience to the law of its relation to the human soul. Were we asked which among pictures is most completely illustrative of this obedience, we should answer, "The Entombment," in the Louvre. Each breadth of color mourns,—sky and earth and all the conscious air are laden with sorrow.

In portraiture, however, the great master was inclined to give the full perfection of the highest type of coloring. That rich glow which is bestowed by the Venetian sun did, indeed, seem typical of the life beneath it; and Titian may have been justified in bringing thither those who were the recipients of his favors. One only did he not invite,—Philip II.; him he placed, dark and ominous, against a sky barred with blood.

Is it in virtue of conformity to law, and under the government of the principles of correspondence, that Mr. Page has wrought with mind and hand?

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