El Greco had pupils but left no followers. Some of his pupils, Luis Tristan, for example, and his son, George Manuel, learned to imitate his manner sufficiently closely to have caused confusion in the attribution of certain pictures. But El Greco’s style was so directly the product of his own intellectuality, sensitive and passionate æsthetic imagination and highly wrought soul, that it could not be absorbed in its integrity by others. But his art influenced no less a master than the great Velasquez. We have noted that the latter borrowed from the Toledan artist his composition for the _Coronation of the Virgin_ and may add the debt which his portrait of _Innocent X_ appears to owe to El Greco’s _Don Fernando Nino de Guevara_. It was however in the matter of color that the influence is most marked. Velasquez adopted, as Señor de Beruete says, “certain silver-grey tints in the coloring of the flesh, the use of special carmines and a greater freedom of execution in the draperies, fabrics and other accessories.” These same qualities, and the intellectuality and abstraction of his conception and style have begun to affect some modern artists. The most notable example was the late Paul Cézanne, whose work, in turn, is exerting a potent influence on others. Meanwhile El Greco’s pictures, until recent years known only to a few connoisseurs, are being sought for and treasured by collectors and museums. Meanwhile, by the young painter of to-day El Greco should be studied closely. For the modern age in every development of life is beginning to demand intellectuality, and in painting particularly a greater degree of subtlety and abstract suggestion. The quality of expression is growing more and more to be the test by which the artist of the present and the future will be judged. El Greco, in all these respects is a master to be followed; not in the way of imitation, but for the sake of the principles involved in his conception of a subject and its technical rendering, and also because he will help to an understanding of other great artists of expression, such as Michelangelo, Giotto, the nameless artists of the Byzantine period and the known and unknown masters of Buddhistic art. CHAPTER VI VELASQUEZ While El Greco gave expression to the soul of Spanish chivalry and religion, Velasquez embodied in its highest form the racial love of naturalism. More than this, he stands above all other naturalistic painters in truth of representation.