Beyond two legal squabbles, we learn nothing of the man's life at Toledo. He is said to have painted his own visage in the Burial of Count Orgaz: lean, hard, nervous, exceedingly dark and striking, the face of a man in whom energy was an unsleeping disease, who worked with his mind concentrated upon the accomplishment of an ideal achievement, not as an idealist, as a materialist rather with an ideal object in view. There is the same curious modern expression in this dark, impassioned face that I noticed in the desperate portrait of the Italian novelist, M. Gabriel d'Annunzio, whom the face strangely resembles; an eager, ravenous, cruel sensuality which knows neither rest nor satiety, and which gives meaning to the charge of habits of harsh gallantry and deliberate ostentation. He is said to have kept a band of musicians to play during his carefully-prepared and selected repasts. Yet nothing could be less sensual than the work of El Greco. He is colder than Velasquez, and only understands feminine emotion in a certain austere intensity, passion fed upon the perfume of incense and saintly legend, as in the striking head of St Agnes in his great Virgin and Child of San José. But this statement also is untrustworthy. It is incredible that a man, who left so much behind him, whose life was so active, and whose achievement was so important for a town in which he lived for so many years, should be merely a name, leaving no evidence of social or civic existence, no word of friend or foe in the annals of that town, nothing in its contemporary letters to guide us to any knowledge of the man himself. Pacheco in three lines reports a conversation with him, that is all. We do not know even where he lived in Toledo, how he lived, who his wife was, if he loved her, who his friends were, what manner of father and citizen he was. We know that he painted pictures, that he built churches, carved statues, and, since he was well paid for his work, that he must have possessed considerable means, and was probably an influential personage as well as a great master. Sir William Stirling Maxwell possesses a portrait said to be that of El Greco's daughter by him, but this, too, is regarded as doubtful. Of a son's existence, however, we are certain, and the charming figure of the delicate and pensive St Martin on horseback, as well as that of the dreamy youth in the plan of Toledo of the Museum, are the portraits of George Manuel Theotocopulos, architect, like his father. It is now certified that he was buried in the church, built by himself, of the Dominican convent, _Santo Domingo el Antiguo_.