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