ium 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