The Spaniards returned and brought Christianity back with them. They erected an immense cathedral and turned mosques into chapels without altering the Oriental form. Jews, Arabs, and Christians lived peacefully together during the four following centuries. Together they created the _Mudejar_ style tower of San Tomas and the Puerta de Sol. Pure Gothic was transformed, rendered even more insubstantial and lighter, thanks to Oriental decorative motives. In San Juan de los Reyes, the _Mudejar_ style left a unique specimen of what it might have developed into had it not been murdered by the Renaissance fresh from Italy, where Aragonese troops had conquered the kingdom of the Two Sicilies. With the first Philips--and even earlier--foreign workmen came over to Toledo in shoals from Germany, France, Flanders, and Italy. They also had their way, more so than in any other Spanish city, and their tastes helped to weld together that incongruous mass of architectural styles which is Toledo's alone of all cities. Granada may have its Alhambra, and Cordoba its mosque; Leon its cathedral and Segovia its Alcázar, but none of them is so luxuriously rich in complex grandeur and in the excellent--and yet frequently grotesque--confusion of all those art waves which flooded Spain. In this respect Toledo is unique in Spain, unique in the world. Can we wonder at her being called a museum? The Alcázar, which overlooks the rushing Tago, is a symbol of Toledo's past. It was successively burnt and rebuilt; its four façades, here stern and forbidding, there grotesque and worthless, differ from each other as much as the centuries in which they were built. The eastern façade dates from the eleventh, the western from the fifteenth, and the other two from the sixteenth and seventeenth centuries. But other arts than those purely architectural are richly represented in Toledo. For Spain's capital in the days following upon the fall of Granada was a centre of industrial arts, where both foreign and national workmen, heathen, Jews, and Christians mixed, wrought such wonders as have forced their way into museums the world over; besides, Tolesian sculptors are among Spain's most famous. As regards painting, one artist's life is wrapped up in that of the wonderful city on the Tago; many of his masterworks are to be seen in Toledo's churches and in the provincial museum. I refer to Domenico Theotocopuli, he who was considered a madman because he was a genius, and who has been called _el Greco_ when really he ought to have been called _el Toledano_. * * * * *