With the arrival of Romantic sentiments, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. French Romantic writers praised his work for the same "extravagance" and "madness" which had disturbed 18th century commentators. During the operation of the Spanish Museum in Paris, El Greco was admired as the ideal romantic hero and all the romantic stereotypes (the gifted, the misunderstood, the marginal, the mad, the one who lost his reason because of the scorn of his contemporaries) were projected onto his life. The myth of El Greco's madness came in two versions. On the one hand, Théophile Gautier, a French poet, dramatist, novelist, journalist and literary critic, believed that El Greco went mad from excessive artistic sensitivity. On the other hand, the public and the critics would not possess the ideological criteria of Gautier and would retain the image of El Greco as a "mad painter" and, therefore, his "maddest" paintings were not admired but considered to be historical documents proving his "madness".