Three other great pictures, however, remain. In the little chapel of San José, opposite the Exchange of Carlos III., a painted insignificant edifice that has fallen into deserved decay, there are five or six Grecos, two of which arrest immediate attention. On the left is the singularly beautiful figure of St Martin, a portrait of the painter's son, a delicate high-bred and dreamy young knight in armour, inappropriately cutting his mantle in two with Toledan steel to bestow half on the beggar standing beside his white horse. No Roman soldier this conception of Martin of Tours, making a gift of half of his single cloak, but a charming youth who is playing at charity as he rides out beyond the town, while above the river, in some Gothic-Arabian palace, he has his choice of variously-hued satin cloaks as well as damascene armour, and as he cuts his mantle, he has the dainty and sentimental air of one who muses tristefully on the absent or perfidious beloved, and hugs despair as the more graceful part of passion, the while anxiously asking himself if he shall meet her glance as he rides past her lattice. Except the lovely girl's head of the _Expolio_, also said to be a family portrait, and if so proving, along with the St Martin, that El Greco was the father of beautiful children, El Greco has done no more witching and romantic work than this boyish figure of St Martin. The colouring is extraordinarily cold, and grey of an exquisite tone, with shadows of a dull silvered blue. It suggests the pale borderland where dream and reality meet and merge. When El Greco first came to Spain, he was fresh from the warm voluptuous school of Venice. Nothing proves more than the rapid alteration of his style, the invading influence of atmosphere. The austere and hieratic capital of Spain developed a racial coldness, till his art became like the city that remained its temple, something aloof from and above the gusts of temperament, an art unmoved by passion or the senses, too violent to be called serene, too reflective and intellectual to touch the heart. One would look in vain for the exquisite sweetness of Andrea del Sarto, for a particle of the delight and radiance the Italians had the secret of gathering into their canvases, for any of the superlative charm of da Vinci or the surpassing tenderness of Raphael. El Greco has much of the modern hardness, much of its quick impressionability, much of its accentuated indifference to mere loveliness, much of its cold force and deliberate self-cultivation. Instead of learning from error, he cultivated error as part of his individuality, a thing that was right in him since it defined his peculiar perception of things. Even in this fine picture, the horse is out of drawing, since it is a settled thing that no large work of his can utterly satisfy, can come to us without some distinguished blemish and oddness by which we recognise our Greco all in greeting him.