We should like to believe that the Venetian visit of 1853 was the closing of one period of transition, and the beginning of a new era in Mr. Page's artistic career. It is pleasant to think of the painter's pilgrimage to that studio of Titian, Venice,--for it was all his,--not in nebulous prophetic youth,--not before his demands had been revealed to his consciousness,--not before those twenty long years of solitary, hard, earnest work,--but in the full ripeness of manhood, when prophecy had dawned into confident fulfilment, when the principles of his science had been found, and when of this science his art had become the demonstration. It was fine to come then, and be for a while the guest of Titian. There is evidence that he began after this visit to do what for years he had been learning to do,--yet, of course, as is ever the case with the earnest man, doing as a student, as one who feels all truth to be of the infinite. The result has been a series of remarkable pictures. There are among these the specimens of portraiture, a few landscapes, and a number of ideal, or, as they have been called, historical works. Of these last named there is somewhat to be said; and those to which we shall refer are selected for the purpose of illustrating principles, rather than for that of description. These are all associated with history. There are three representations of Venus, and several renderings of Scriptural subjects. If these pictures are valuable, they are so in virtue of elements which can be appreciated. To present these elements to the world, to appeal to those who can recognize them, is, it is fair to assume, the object of exposition. Not merely praise, but the more wholesome meed of justice, is the desire of a true artist; and as we deal with such a one, we do not hesitate to speak of his works as they impress us. First of all, in view of the artist's skill as a painter, it is well to regard the external of his work. Here, in both Scriptural and mythological subjects, there is little to condemn. The motives have been bravely and successfully wrought out; the work is nobly, frankly done. The superiority of methods which render the texture and quality of objects becomes apparent. There is no attempt at illusion; yet the representation of substances and spaces is faultless,--as, for instance, the sky of the "Venus leading forth the Trojans." Nor have we seen that chaste, pearly lustre of the most beautiful human skin so well rendered as in the bosom of the figure which gleams against the blue. But there is a pretension to more than technical excellence in the mythological works; there is a declaration of physical beauty in the very idea; in both these and the Scriptural there is an assumption of historical value.