Following the _Count Orgaz_ came a series of pictures in which passionate ecstasy reached its highest intensity. Three of them are in the Prado: _The Crucifixion_, already alluded to, in which angels are catching the sacred Blood, a _Resurrection_ and _The Baptism of Christ_. The last named (p. 81) is not merely a representation of one man pouring water on the head of another, whose humble mien, coupled with the introduction of a hovering dove and sometimes a venerable aged man above, tells one that the picture is meant to represent the baptism of the Second Person of the Holy Trinity. Such is generally the jejune method of treating the subject. But here we are again in the presence of a vision, in which the real spiritual significance of the facts of the incident are made visible to the eye. Heaven joins with earth in a symphonic burst of devotional enthusiasm. Movement of life abounds, the soul’s life typified by human forms. There is even the rhythm of movement in the comparatively static figures of the Christ and S. John; in the angels that lift the crimson mantle and those who stand by adoring; while over head the spiritual energy mounts in wave upon wave of jubilance till it circles about the serene figure of the Most High God. Once more we note how a sense of far-off isolation is given to this topmost figure by introduction of taller angels in the front plane; also that there is nowhere any space unfilled with meaning, even the grey-green creamy clouds seeming to mount upward with their angelic burdens. But beyond all possibility of description is the degree to which the picture kindles and lifts the imagination. Amazing also is _The Resurrection_, now in the Prado. The figure of the Lord, long and supple as a reed, is poised above, while down below the soldiers are in agitated consternation. They have been roused out of sleep by the shock of the rending tomb and, still dazed, confront the miracle. One has fallen backward in his fear, some shield their eyes from the light, while others carve the air with their swords in frantic efforts. With the exception of one fine young figure that reaches up his hand, as if in acknowledgment of the miracle, they are all nude, the bodies wrought to extreme tension of expression. * * * * *