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.