magnificent display of color.

Paul Veronese, the splendor of whose conceptions seemed ever to select
the pomp and wealth of banquets and ceremonies,--Giorgione, for whom the
world revolved in an atmosphere of golden glory,--each had a fixed ideal
of noble coloring; and it is questionable whether either ever modified
that ideal for the sake of any expressional purpose.

Titian, from whom no property or capability of color was concealed,
could not forego the power which he secured through obedience to the law
of its relation to the human soul. Were we asked which among pictures is
most completely illustrative of this obedience, we should answer, "The
Entombment," in the Louvre. Each breadth of color mourns,--sky and earth
and all the conscious air are laden with sorrow.

In portraiture, however, the great master was inclined to give the full
perfection of the highest type of coloring. That rich glow which is
bestowed by the Venetian sun did, indeed, seem typical of the life
beneath it; and Titian may have been justified in bringing thither
those who were the recipients of his favors. One only did he not
invite,--Philip II.; him he placed, dark and ominous, against a sky
barred with blood.

Is it in virtue of conformity to law, and under the government of the
principles of correspondence, that Mr. Page has wrought with mind and
hand?

Otherwise it cannot be; for, in the three portraits to which allusion
has been made, such subtile distinctions of character find expression in
equally subtile differences of tint, that no touch could have been given