contemplating View of Toledo, people can see the contrast from light to dark. There are rolling hills depicted with Toledo at the top. The city of Toledo is very grey in contrast to the vibrant green of the hills. On the opposite end the city itself is also a light contrast to the dark color of the sky. El Greco uses pure colors to his advantage. The location of the Castle of San Servando, on the left, is accurately depicted. However, many other landmarks that are clearly referring to Toledo are not in the correct location that is true to the city. Walter Liedtke believes this is because El Greco painted the View of Toledo more as a future or a hope to what it would look like. Art historians, Jonathon Brown and Richard Kagan, have also hinted to the theory that El Greco painted the city of Toledo in an alternate way to fit his imagination or ideal version of Toledo. Style El Greco has a unique style with influences from Italian artists as well as Spanish and Greek. Throughout his painting career, El Greco changed his style based upon the places he lived. However, he almost always painted with influence from his Cretan or Greek roots. He often wrote in Greek and used the Greek alphabet instead of the Latin alphabet. View of Toledo carries this tradition of his Greek roots through his signature. He always signed his art with his real name, Domenikos Theotokopoulos. El Greco's signature appears in the lower-right corner. El Greco's style was known to be more uneven. That uneven detail that is normally found in his art is in his line work and in the physical location of Toledo in the painting. While influenced by the Mannerist style, El Greco's expressive handling of color and form is without parallel in the history of art. The Welsh art historian David Davies asserts that the philosophies of Platonism and ancient Neo-Platonism, the works of Plotinus and Pseudo-Dionysius the Areopagite, the texts of the Church fathers and the liturgy offer the keys to the understanding of El Greco's style. Summarizing the ensuing scholarly debate on this issue, José Álvarez Lopera, curator at the Museo del Prado, Madrid, concludes that the presence of "Byzantine memories" is obvious in El Greco's mature works, though there are still some obscure issues concerning his Byzantine origins needing further illumination. Interpretation