More than he, no man could respect the properties and qualities of the
visible world. His ideas of the truthful rendering of that which became
the subject of his pencil might seem preposterous to those who knew not
the wonderful significancy which he attached to individual forms and
tints. Yet, in imitation, where is the limit? What is possible? Must
there be any sacrifice?

Evidently there must be; and of course it follows that the less
important must be sacrificed. Nature herself has taught the artist that
the most variable of all her phenomena is that of _tone_. Other truths
of Nature have a character of permanency which the artist cannot modify
without violating the first principles of art. He is required to render
the essential; and to render the essential of that which art cannot
sacrifice, if it would, and continue art, he foregoes the non-essential
and evanescent.

Not only is this permitted,--it is demanded. It is a law through which
alone success is attainable. In obedience to it, Mr. Page adopts a key
somewhat lower than that of Nature as a point of departure, using his
degrees of color frugally, especially in the ascending scale. With this
economy, when he approaches the luminous effects of Nature, he finds,
just where any other palette would be exhausted, upon his own a reserve
of high color. With this, seeking only a corresponding effect of light
in that lower tone which assumes no rivalry with the infinite glory of
Nature, he attains to a representation fully successful.

We would not have it understood that a mere transposition of the scale
is all that is required to accomplish such a result; only this,--that in
no other way can such a result be secured. To color well, to color so
that forms upon the canvas give back tints like those of the objects