of gloom, and the expression in this grey atmosphere is mystic and serene. Not one of the best examples, but good enough to suggest that there may be some truth in the supposition that El Greco was the sculptor of the famous little statue of St Francis of Assisi in the Cathedral Treasury, and not Alonzo Cano or Pedro de Mena. But doubtful of my sacristan's knowledge, I struck a match, mounted a chair, and convinced him by reading out the half obliterated Greek letters of Theotocopulos's signature. Nothing but the patronymic could be deciphered, but the signature of the picture of the Escorial M. Demetrius Bikelas deciphered more fully: [**Greek: Domênichos Theotochoulos Kpês, 'epoíe], which is our sole assurance of his birthplace. There remains another great picture of El Greco to draw attention to, overlooking, as I am compelled to, the very names of so many others. The Assumption of San Vicente is no less magnificent than singular. Most rare is its realistic impression of a scene mid air. You feel about it the very hurricane of the upper air, the dizzy velocity of flight. This is no image of calm soaring through space, the idea of dreamy swim most painters of the Assumption are content to convey. The very modernity and the violent realism of El Greco's genius forced him to forsake in all things the notion of simple reverie. He seeks to convey distinct impressions; veracity as far as possible must stamp these. He does not delight in pampering the spectator with sentimental musings or the inanely beautiful. Ugliness, too, has its beauty when accompanied by strength. You must understand to enjoy, must bring the brain as well as the senses to the contemplation of his work. Like all preoccupied artists, he inevitably sins by excess, and overtaxes the bewildered spectator. Something of his spirit went into our own Browning. His drawing is often like Browning's verse, inexplicably rough and out of gear. But nothing could change either genius. One leaves you to make what you can of his volumes; the other leaves you for ever exasperated by eccentricities of pencil and brush it is now no use seeking to understand. For instance, in this picture, shocking and glorious at the same time, who is to account for the profile of the angel in yellow with the grand beating wings of shaded purple and grey that support the lifted Virgin through the rushing air? The limbs are grotesque, the pointed nose almost stands away from the face, the ears protrude in graceless deformity, and the chin is nearly rugged in its absurd upward curve. A more painful presentment of an angel sane man never painted. Yet look away, and you will see two exquisite slender limbs and feet, pointed downward in the air, to show that El Greco knew a lovely thing as well as any other painter. And yet higher still, examine the Virgin with her dark, oval, intellectual, modern visage, beautiful with the beauty of our own troubled and eager times, half spiritual, half