The mystery that surrounds the life of El Greco is perhaps a little lifted by the account of him which Guiseppe Martinez gives in his “Practical Letters on the Art of Painting.” It is not the evidence of a contemporary, but of one who probably got his impressions from those who had known the artist or at least the opinion commonly held of him during his life.
“At that time there came from Italy a painter called Dominico Greco; it is said that he was a pupil of Titian. He settled in the famous and ancient city of Toledo, introducing such an extravagant style that to this day nothing has been seen to equal it; attempting to discuss it would cause confusion in the soundest minds; his works being so dissimilar that they do not seem to be by the same hand. He came to this city with a high reputation, so much so that he gave it to be understood that there was nothing superior to his works. In truth he achieved some works which are worthy of estimation and which can be put among those of famous painters. His nature was extravagant like his painting. It is not known with certainty what he did with his works, as he used to say no price was high enough for them, and so he gave them in pledge to their owners who willingly advanced him what he asked for. He earned many ducats, but spent them in too great pomp and display in his house, to the extent of keeping paid musicians to entertain him at meal times. His works were many, but the only wealth he left were two hundred unfinished paintings; he reached an advanced age, always enjoying great fame. He was a famous architect and very eloquent in his speeches. He had few disciples, as none cared to follow his capricious and extravagant style, which was only suitable for himself.”
We get a glimpse here of a strangely individual personality, reserved and proud, conscious of his destiny, working it out in a haughty exclusiveness; wrapt up in high thoughts and cultivating in the retirement of private life a rare refinement. In Toledo, then the citadel of the Catholic Faith, so dominated by the dignitaries of the Church that Philip II, who brooked no rivalry of power, was forced to transfer his Court thence to Madrid, El Greco preserved the integrity of his artistic faith and, by separating himself from outside influences, maintained the independent sovereignty of his own ideals.