smitted, 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principle is no longer applicable.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,