The scene of the miracle is depicted in the lower part of the composition, in the terrestrial section, where all is normal as regards the scale and proportions of the figures. Saint Augustine, bearing the characteristics of Gaspar de Quiroga y Vela, the Archbishop of Toledo, and Saint Stephen, in golden and red vestments respectively, bend reverently over the body of the count, who is clad in magnificent armor that reflects the yellow and reds of the other figures. The armor is contemporary with Greco's time, and inspired by the ceremonial military dress of the Spanish royals as depicted in Titian's portraits. The noblemen contemplate the event in a detached and restrained manner. Their subdued composure has been interpreted either as another visual element of the didactic purpose of the painting under the Counter-Reformation influence or as an expression of the Byzantine origins of Greco's art.* S. Schroth, "Burial of the Count of Orgaz", 7</ref> The young boy at the left is El Greco's son, Jorge Manuel; on a handkerchief in his pocket is inscribed the artist's signature and the date 1578, the year of the boy's birth. Jorge Manuel's inclusion emphasizes the didactic purpose of the painting: the boy occupies a prominent position close to the spectator's view, directing the latter with his pointing finger. The artist himself can be recognised directly above the raised hand of a knight of the Order of Santiago.* Web Gallery of Art, The Burial of the Count of Orgaz</ref>