which have served as models, is only half the work. Quality, as well as
color, must be attained. Local, reflected, and transmitted color can be
imitated; but as in the attempt to represent light its luminousness is
the element which defeats the artist, so, throughout Nature, quality,
texture, are the elements which most severely test his power.

Could any indispensable truth be considered secondary, it might be
assumed that rendering truthfully the qualities of Nature is the first
and highest of art. The forms and colors of objects vary infinitely.
It might be said that the law of all existence is, in these two
particulars, that of change. From the time a human being is born until
it disappears in the grave, from the day when the first leaves break the
mould to that which sees the old tree fall, the form of each has been
modified hourly.

But that which differentiates objects more completely than any other
property is quality. The sky over us, and the waters of the earth, are
subject to infinite variations. Yet, whether in the tiny drop that
trembles at the point of a leaf or in the vast ocean-globe of our
planet, in the torpor of forest-ponds or in the wrath of cataracts,
water never loses its quality of wetness,--the open sky never that of
dryness. These two characteristics are of course entirely the reverse
of each other,--as unlike as are the properties of transparency and
opacity,--which they involve.

So, throughout Nature, one truth, that of texture, is the
distinguishing; and this distinctive element is that which cannot be
sacrificed; for through it are Nature's finest laws manifested. And the
painter finds in his obedience to her demands his highest power over
the material which serves him in his efforts to embody the true and the