out in 1907. Need we add that this French author by no means sees
Botticelli in the musical sense? He is chiefly concerned with his
historic environment. Gebhart's authorities are the Memoriale of
Francesco Albertini; Anonyme Gaddiano, the manuscript of the
Magliabecchiana, which precedes the Vasari edition; the Life of
Botticelli, by Vasari, and many later studies, the most complete, he
avers, being that of Hermann Ulmann of Munich, whose Sandro
Botticelli, which appeared in 1893, is rigorously critical.
Nevertheless, it is not as critical as Morelli's Italian Painters.
Details about the typical ears, hands, and noses of the painter may be
found therein. The last word concerning Botticelli will not be uttered
until his last line has vanished. And, even then, his archaic
harmonies may continue to sound in the ears of mankind.




VIII. SIX SPANIARDS



"EL GRECO"



Large or small, there has been a Greco cult ever since the
Greek-Spanish painter died, April 7, 1614, but during the last decade
it has grown into a species of worship. One hears the names of
Velasquez and El Greco coupled. His profound influence on the greatest
of the realists is blithely assumed, and for these worshippers,