To this time also belongs _The Dream of Philip II_, in the Escoriál. It was followed by a period of serener pictures, such as those which were painted for the Chapel of San José, Toledo. The finest of these, and the best known, is a narrow upright panel, the _S. Martin_, dividing his cloak with a nude beggar. The youthful figure of the saint--a portrait of the artist’s son George, in the beauty of his first manhood--clad in black armor, is mounted on a white horse which has black accoutrements. The animal has one foreleg lifted and arched; the others parallel the legs of the beggar, recalling somewhat the treatment of the legs in the _San Mauricio_. The two figures are seen against the sky, which soars above a distant view of Toledo. In the statuesque plasticity of the forms and the chastity of the color scheme of white, black, green and pale greyish blue the picture is one of extraordinary nobility and tenderness and of extreme abstraction. Facing it is the exquisitely tender and reverential _Virgin and Saints_ (p. 85) in which perhaps, more than in any other of his works El Greco has yielded to the charm of facial loveliness. Above the high altar hangs the _Coronation of the Virgin_. The center of the composition is a trefoil arrangement of the three figures of the Father, Son and Virgin, beneath which are two adoring figures, the rest of the pattern consisting of clouds in arc-like forms only less full of expressional value than the figures. It is a motive that Velasquez borrowed in his picture in the Prado of the same subject. To this period is attributed the _Crucifixion_ in the Louvre (p. 70) to which allusion has been already made. Let us note afresh the infinite calm of the Saviour’s form as characteristic of this period of spiritual calm in the artist’s own genius. By this time, also, we are better able to judge the introduction of the two worshippers in the lower foreground. They were probably included of necessity, representing the donor and the priest of the Church for which this picture was painted. But they also introduce that touch of naturalism, dear to the Spanish imagination; and the artist has made them contributary to his conception of the scene as a vision. It is a vision of the holy scene which these men of his own time are contemplating and the contrast of their reality lends to the vision an increased abstraction.