In his mature works El Greco demonstrated a characteristic tendency to dramatize rather than to describe. The strong spiritual emotion transfers from painting directly to the audience. According to Pacheco, El Greco's perturbed, violent and at times seemingly careless-in-execution art was due to a studied effort to acquire a freedom of style. The preference of El Greco for very tall and slender figures and elongated compositions, which served both the expressive purposes and the aesthetic principles of the master, led him to disregard the laws of nature and elongate his compositions more and more, particularly when they were destined for altarpieces. The anatomy of the human body becomes even more otherworldly in the painter's mature works. For example, for the "Virgin of the Immaculate Conception" that he painted for the side-chapel of Isabella Oballe in the church of Saint Vincent in Toledo (1607–1613), El Greco asked to lengthen the altarpiece itself by another 1.5 feet "because in this way the form will be perfect and not reduced, which is the worst thing that can happen to a figure'". The minutes concerning the commission, which were composed by the personnel of the municipality, describe El Greco as "one of the greatest men in both this kingdom and outside it". A significant innovation of El Greco's mature works is the interweaving between form and space; a reciprocal relationship is developed between them which completely unifies the painting surface. This interweaving would re-emerge three centuries later in Cézanne's and Picasso's works.