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The analytical study of El Greco's undocumented works, which appear in series of reiterated replicas of a limited number of models, still has many problems not yet satisfactorily solved.1 The evolution of his style is clearly reflected in the sequence of documented works which constitute landmarks in his artistic career from his stay in Rome (1570–1574?) until his death in Toledo (1614). If, as happens with many other artists active in Spain, all of El Greco's paintings had been done entirely by him, the chronological problem of the undocumented paintings would have an easy solution, but it is quite well known that there exist many “Grecos” which were not really painted by the master's own hand. After establishing himself in Toledo (1577), El Greco organized his workshop along the same lines as those belonging to the great Venetian masters, but very little is known about El Greco's collaborators. We do know that Francisco Preboste, mentioned in documents as El Greco's servant, was in reality his assistant after his establishment in Toledo.
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