Meanwhile the school of El Greco was producing worthy fruit; from it, in the infancy of the seventeenth century, came forth Luis Tristan, an artist even now almost unknown in London and Edinburgh, but whose style Velasquez did not disdain to imitate, and whose praises he was never tired of sounding. "Born, bred, and sped" in Toledo, or its neighbourhood, as Morales was emphatically the painter of Badajoz, so may Tristan be termed the painter of Toledo. No foreign graces, no classical models, adorned or vitiated his stern Spanish style; yet, in his portrait of Archbishop Sandoval, he is said by Mr Stirling to have united the elaborate execution of Sanchez Coello with much of the spirit of Titian. And of him is the pleasant story recorded, that having, while yet a stripling, painted for the Jeronymite convent at Toledo a Last Supper, for which he asked two hundred ducats, and being denied payment by the frugal friars, he appealed with them to the arbitration of his old master, El Greco, who, having viewed the picture, called the young painter a rogue and a novice, for asking only two for a painting worth five hundred ducats. In the same Toledan church that contains the ashes of his great master, lies the Murcian Pedro Orrente, called by our author "the Bassano, or the Roos--the great sheep and cattle master of Spain:" he too was employed by the art-encouraging chapter, and the cathedral possessed several of his finest pictures. But with Tristan and Orrente the glories of Toledan art paled and waned; and, trusting that our readers have not been uninterested in following our brief sketch of the remarkable men who for four hundred years rendered this quaint old Gothic city famous for its artistic splendours, we retrace our steps, halting and perplexed among so many pleasant ways, blooming flowers, and brilliant bowers, to the magnificent, albeit gloomy Escurial, where Philip II lavished the wealth of his mighty empire in calling forth the most vigorous energies of Spanish and of foreign art.