More was employed by most of the princes of Europe, who liberally
rewarded him, and at every court his paintings were beheld with
admiration and applause, but at none more than at those of Spain and
England. He acquired an ample fortune. When he was in Portugal, the
nobility of that country, in token of their esteem, presented him, in
the name of their order, a gold chain valued at a thousand ducats. He
closely imitated nature. He designed and painted in a bold, masculine
style, with a rich tone of coloring; he showed a good knowledge of the
chiaro-scuro, and he finished his pictures with neatness and care; his
style is said to resemble that of Hans Holbein, though not possessing
his delicacy and clearness; and there is something dry and hard in his
manner. His talents were not confined to portraits; he painted several
historical subjects in Spain for the Royal Collection, which were highly
applauded, but which were unfortunately destroyed in the conflagration
of the palace of the Prado. While he resided in Spain, he copied some
portraits of illustrious women, in a style said to approach Titian. His
own portrait, painted by himself, charmingly colored, and full of life
and nature, is in the Florentine Gallery. His best work was a picture of
the Circumcision, intended for the Cathedral at Antwerp, but he did not
live to finish it, and died there in 1575.