Pacheco says of El Greco that he was “in all things as singular as in his paintings.” Other stray notices represent him as “a great philosopher,” “eloquent in discourse,” a witty, acute speaker--_de agudos dichos_--a writer on painting, sculpture and architecture. We are further told that he earned many ducats but spent them in pomp and display, even keeping musicians to play to him during his meals. He would seem to have retained the soft atmosphere of Italian luxury amid the narrow, gloomy Toledo streets, and to have introduced an alien note of pleasure into the cold, intense existence of Castille. But if his life preserved about it a certain tinge of Venice (Venice that spent what Venice earned), his art was essentially Spanish. The mannerism of his painting might be deemed extravagant, as his caprices might not be understood, by many Spaniards. He was, they might say, “too picked, too spruce, too affected, too odd, as it were, too peregrinate.” They are the epithets of Holofernes describing a Spaniard; and what could be more Spanish than El Greco’s mingling of keen vision and realistic power as a portrait painter with an intense, unfailing spiritualism; than his vehement, almost tortured desire to shun the common and the vulgar--not the mere seeking after originality but a wish to be sincere, to express his own soul? His manner has not the sensuous richness of Italy but a Castilian, nay, a Toledan austerity. It is as “a sword of Spain, the ice-brook’s temper.” Already in his famous “Expolio” (in the Sacristy of Toledo Cathedral), painted not long after he had arrived in Spain, he had, as Señor Cossío says, abandoned the reds and golds of Italy for blue and carmine and ashen grey. As to the price of this picture he had a quarrel with the Chapter of Toledo Cathedral.[117] Assessors were appointed to value it and they found that, though the picture was beyond all price--_no tiene prescio ni estimación_--a verdict with which all who have seen the “Expolio” will readily agree, yet, having regard to “these poverty-stricken times,” they assessed it at nine hundred ducats, an extraordinarily high price for that period. The Chapter, on the other hand, offered a much smaller sum, and that under the condition that he should remove certain “improprieties”--_ynpropiedades_--from the picture, among them the figures of “the Virgin and the saints--_las marias y nuestra señora_--whose presence in the picture is contrary to the gospel, seeing that they were not actually present.” El Greco held out for his own price, but the Mayor, siding with the Chapter, decreed that he must either give up the picture or go to prison, and the painter submitted. The exquisitely beautiful figures that he was to have removed are, however, still in the picture, as well as the other _ynpropiedades_, so that he seems at least to have defied the narrow spirit of the letter in the priests who “reigned triumphant” at Toledo.