Tambien en la historia de nra señora que trahe la casulla a S. Illefonso para su ornato y hazer las figuras grandes me he valido en çierta manera de ser cuerpos çelestiales como vemos en las luçes que vistas de lexos por pequenas que sean no pareçen grandes."It was necessary to place the Hospital of Don Juan Tavera in the form of a model because, not only did it cover the Puerta de Visagra [Bisagra], but the dome or cupola rose up over the city and so once placed as a model and moved from its location it seemed to me to show the façade better than elsewhere, and as to how it fits within the city, this can be seen in the plan … Also in the story of Our Lady bringing the chasuble to Saint Ildefonso, in order to adorn him and to make the figures large, I have in a certain way taken advantage of their being celestial bodies, as in the case of lights, which when viewed from afar however small they may appear to be large.Placing the Tavera Hopital on a cloud to move it out of the way of the view of the Bisagra Gate is a strategy El Greco used in other of his landscapes. On the left of the Metropolitan Museum of Art's "View of Toledo", across the Alcàntara bridge and beneath the Castle of San Servando, is a small cluster of buildings on a cloud-like form. El Greco may have intended these to be the Agalinese monastery, where Saint Ildefonsus went on retreat. Pedro Salazar de Mendoza owned both "View of Toledo" and "View and Plan of Toledo", which may explain this commonality. On the lower left of "View and Plan of Toledo" is a reclining allegory of the Tagus River, holding a cornucopia and a vessel pouring water. It references both Toledo's agricultural economy and fertility. At the same time, it suggests Toledo's antiquity, the roots of which can be traced to Roman times. The painting has a long-standing attribution to El Greco which is supported by most scholars. There has been some speculation that the plan of Toledo was penned on the surface of the painting by El Greco's son Jorge Manuel. Guillermo Santacruz Sánchez de Rojas argued that the entire painting is by Jorge Manuel: He claims El Greco would have been too elderly to have produced this painting, as creating preparatory sketches of the city and measurements for the plan would have required significant walking and climbing.