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?
Otherwise it cannot be; for, in the three portraits to which allusion has been made, such subtile distinctions of character find expression in equally subtile differences of tint, that no touch could have been given from vague apprehensions of truth. No ambiguity perplexes the spectator; he beholds the inevitable.
Other works than those of portraiture have won for Mr. Page the attention of the world. This attention has elicited from individuals praise and dispraise, dealt out promptly, and with little qualification. But we have looked in vain for some truly appreciative notice of the so-called historical pictures executed by this artist. We do not object to the prompt out-speaking of the public. So much is disposed of, when the mass has given or withheld its approval. We know whether or not the work appeals to the hearts of human beings. Often, too, it is the most nearly just of any which may be rendered. Usually, the conclusions of the great world are correct, while its reasonings are absurd. Its decisions are immediate and clear; its arguments, subsequent and vague.
This measure, however, cannot be meted to all artists. A painter may appeal to some wide, yet superficial sympathy, and attain to no other excellence.
That
