His religion was the excellent English compromise or rather balance of dogma, practice and spirituality which laymen make for their own life.

His bold sense of personal freedom was English.

His constancy to his theories, whether of faith or art, was English; his roughness of form was positively early Teutonic.
Then his wit, his _esprit_,[3] his capacity for induing he skin and the soul of other persons at remote times of history; his amazing inventiveness and the ease of it, at which point he beats Tennyson out of the field; his play, so high fantastical, with his subjects, and the way in which the pleasure he took in this play overmastered his literary self-control; his fantastic games with metre and with rhyme, his want of reverence for the rules of his art; his general lawlessness, belong to one side, but to one side only, of the Celtic nature.

But the ardour of the man, the pathos of his passion and the passion of his pathos, his impulse towards the infinite and the constant rush he made into its indefinite realms; the special set of his imagination towards the fulfillment of perfection in Love; his vision of Nature as in colour, rather than in light and shade; his love of beauty and the kind of beauty that he loved; his extraordinary delight in all kinds of art as the passionate shaping of part of the unapproachable Beauty--these were all old Italian.
Then I do not know whether Browning had any Jewish blood in his body by descent, but he certainly had Jewish elements in his intellect, spirit and character.

His sense of an ever-victorious Righteousness at the centre of the universe, whom one might always trust and be untroubled, was Jewish, but he carried it forward with the New Testament and made the Righteousness identical with absolute Love.