success in this direction will not be denied by any one who has seen the engraving of a girl and lamb, from one of his early works. It is as sweet and tenderly simple as a face by Francia. But not only did he refuse to confine himself to this style of art, as, when that engraving is before us, we wish he had done,—he passed out of and away from it. And those phases which followed have been such as are the least fitted to stand the trial of public exhibition. His pictures do not command the eye by extraordinary combinations of assertive colors,—nor do they, through great pathos, deep tenderness, or any overcharged emotional quality, fascinate and absorb the spectator.
Much of the middle portion of this artist's professional life is marked by changes. It was a period of growth,—of continual development and of obvious transition. Not infrequently, the transition seemed to be from the excellent to the crude. Nevertheless, we doubt not, that, through all vicissitudes, there has been a steady and genuine growth of Mr. Page's best artistic power, and that he has been true to his specialty.
We should like to believe that the Venetian visit of 1853 was the closing of one period of transition, and the beginning of a new era in Mr. Page's artistic career. It is pleasant to think of the painter's pilgrimage to that studio of Titian, Venice,—for it was all his,—not in nebulous prophetic youth,—not before his demands had been revealed to his consciousness,—not before those twenty long years of solitary, hard, earnest work,—but in the full ripeness of manhood, when prophecy had dawned into confident fulfilment, when the principles of his science had been found, and when of this science his art had become the demonstration. It was fine to come then, and be for a while the guest of Titian.
There is evidence that he began after this visit to do what for years he had been learning to do,—yet, of course, as is ever the case with the earnest man, doing as a student, as one who feels all truth to be of the infinite.
The result has been a series of remarkable pictures. There are among these the specimens of portraiture, a few landscapes, and a number of ideal, or, as they have been called, historical works. Of these last named there is somewhat to be said; and those to which we shall refer are selected for the purpose of illustrating principles, rather than for that of description. These are all associated with history. There are three representations of Venus, and several renderings of Scriptural subjects.
If these pictures are valuable, they are so in virtue of elements which can be appreciated. To present these elements to the world, to appeal to those who can recognize them, is, it is fair to assume, the object of exposition. Not merely praise, but the more wholesome meed of justice, is the desire of a true artist; and as we deal with such a one, we do not hesitate to speak of his works as they impress us.
First of all, in view of the artist's skill as a painter, it is well to regard the external of his work. Here, in both Scriptural and mythological subjects, there is little to condemn. The motives have been bravely and successfully wrought out; the work is nobly, frankly done. The superiority of methods which render the texture and quality of objects becomes apparent. There is no attempt at illusion; yet the representation of substances and spaces is faultless,—as, for instance, the sky of the "Venus leading forth the Trojans." Nor have we seen that chaste, pearly lustre of the most beautiful human skin so well rendered as in the bosom of the figure which gleams against the blue.
But there is a pretension to more than technical excellence in the mythological works; there is a declaration of physical beauty in the very idea; in both these and the Scriptural there is an assumption of historical value.
While we believe that the problem of physical beauty can be solved and demonstrated, and the representations of Venus can be proved to possess or to lack the beautiful, we choose to leave now, as we should be compelled to do after discussion, the decision of the question to those who raise it. It is of little avail to prove a work of art beautiful,—of less, to prove it ugly. Spectators and generations cannot be taken one by one and convinced. But where the operation of judgment is from the reasoning rather than from the intuitive nature, facts, opinions, and impressions may exert healthful influences.
The Venus of Page we cannot accept,—not because it may be unbeautiful, for that might be but a shortcoming,—not because of any technical failure, for, with the exception of weakness in the character of waves, nothing can be finer,—not because it lacks elevated sentiment, for this Venus was not the celestial,—but because it has nothing to do with the present, neither is it of the past, nor related in any wise to any imaginable future.
The present has no ideal of which the Venus of the ancients is a manifestation. Other creations of that marvellous Greek mind might be fitly used to symbolize phases of the present. Hercules might labor now; there are other stables than the Augean; and not yet are all Hydras slain. Armor is needed; and a Vulcan spirit is making the anvil ring beneath the earth-crust of humanity. But Venus, the voluptuous, the wanton,—no sensuousness pervading any religion of this era finds in her its fitting type and sign. She, her companions, and her paramours, with the magnificent religion which evolved them, were entombed centuries ago; and no angel has rolled the stone from the door of their sepulchre. They are dead; the necessity which called the Deistic ideal into existence is dead; the ideal itself is dead, since Paul preached in Athens its funeral sermon.
As history of past conditions, no value can be attached to representations produced in subsequent ages. In this respect all these pictures must be false. The best can only approximate truth. Yet his two pictures of Scriptural subjects—one from the remoteness of Hebrew antiquity, the other from the early days of Christianity—are most valuable even as history: not the history of the flight from Egypt, nor that of the flight into Egypt, but the history of what these mighty events have become after the lapse of many centuries.
Herein lies the difference between Mythology and Christianity: the one arose, culminated, and perished, soul and body, when the shadow of the Cross fell athwart Olympus; the other is immortal,—immortal as is Christ, immortal as are human souls, of which it is the life. No century has been when it has not found, and no century can be when it will not find, audible and visible utterance. The music of the "Messiah" reveals the relation of its age to the great central idea of Christianity. Frà Angelico, Leonardo, Bach, Milton, Overbeck, were the revelators of human elevation, as sustained by the philosophy of which Christ was the great interpreter.
Therefore, to record that elevation, to be the historian of the present in its deepest significance, the noblest occupation. Dwelling, as an artist must dwell, in the deep life of his theme, his work must go forth utterly new, alive, and startling.
Thus did we find the "Flight into Egypt" a picture full of the spirit of that marvellous age, hallowed by the sweet mystery which all these years have given. Who of those who were so fortunate as to see this work of Mr. Page will ever forget the solemn, yet radiant tone pervading the landscape of sad Egypt, along which went the fugitives? Nothing ever swallowed by the insatiable sea, save its human victims, is more worthy of lament than this lost treasure.
Thus, too, is the grandest work of Mr. Page's life, the Moses with hands upheld above the battle. Were we on the first page instead of the last, we could not refrain from describing it. Yet in its presence the impulse is toward silence. We feel, that, viewed even in its mere external, it is as simple and majestic as the Hebrew language. The far sky, with its pallid moon,—the deep, shadowy valley, with its ghostly warriors,—the group on the near mountain, with its superb youth, its venerable age, and its manhood too strong and vital for the destructive years;—in the presence of such a creation there is time for a great silence.
KNITTING SALE-SOCKS
"He's took 'ith all the sym't'ms,—thet 's one thing sure! Dretful pain in hez back an' l'ins, legs feel 's ef they hed telegraph-wires inside 'em workin' fur dear life, head aches, face fevered, pulse at 2.40, awful stetch in the side, an' pressed fur breath. You guess it's neuralogy, Lurindy? I do'no' nothin' abeout yer high-flyin' names fur rheumatiz. I don't guess so!"
"But,
