As this faculty of discerning hidden meanings and relations was one index and consequence of his imaginative power, so another was found in that artistic gift to which I have referred. To give literary form to everything was a necessity of his intellect. He could not tell an anecdote or repeat a conversation without unconsciously dramatising it, putting into people's mouths better phrases than they would have themselves employed, and giving a finer point to the moral which the incident expressed. Verbal accuracy suffered, but what he thought the inner truth came out the more fully. Though he wrote very fast, and in the most familiar way, the style of his more serious letters was as good, I might say as finished, as that of his books. Every one of them had a beginning, middle, and end. The ideas were developed in an apt and graceful order, the sentences could all be construed, the diction was choice. It was the same with the short articles which he at one time used to write for the _Saturday Review_. They are little essays, some of them worthy to live not only for the excellent matter they contain, but for the delicate refinement of their form. Yet they were all written swiftly, and sometimes in the midst of physical exhaustion. The friend I have previously quoted describes the genesis of one. Green had reached the town of Troyes early one morning with two companions, and immediately started off to explore it, darting hither and thither through the streets like a dog trying to find a scent. In two or three hours the examination was complete. The friends lunched together, took the train on to Basel, got there late, and went off to bed. Green, however, wrote before he slept, and laid on the breakfast-table next morning, an article on Troyes, in which its characteristic features were brought out and connected with its fortunes and those of the Counts of Champagne during some centuries, an article which was really a history in miniature. Then they went out together to look at Basel, and being asked some question about that city he gave on the spur of the moment a sketch of its growth and character equally vivid and equally systematic, grouping all he had to say round two or three leading theories. Yet he had never been in either place before, and had not made a special study of either. He could apparently have done the same for many another town in France or the Rhineland. Nothing struck one so much in daily intercourse with him as his passionate interest in human life. The same quickness of sympathy which had served him well in his work among the East End poor, enabled him to pour feeling into the figures of a bygone age, and become the most human, and in so far the most real and touching, of all who have dealt with English history. Whether or not his portraits are true, they always seem to breathe.