Even to mention the names of the painters of the period, it would be necessary to burden this critical sketch with a list of artists of secondary importance. In his art Alonso Berruguete was certainly Italian, but in spite of this, he gave to his works a marked national stamp, maintaining in the central portion of the Peninsula a patriotic inspiration which resulted later in a separate school of culture. Valencia, with artists trained in Italy, was preparing a great reputation for the future, and then a painter of individuality, isolated in a minor province, and having few relations with the Court, created with his brush an austere art, a little dry and stiff, ascetic in its inspiration and scarcely suggestive at first sight, but striking in its individuality, and reflecting that spirit of Spanish theology and mysticism which was to dawn somewhat later. I refer to Luis de Morales, the maker of all these _Dolorosas_ and _Ecce Homos_, so unmistakable and so much esteemed in Spain. We come now to the reign of the son of Charles V, Philip II, a man whose memory has had to endure much criticism, but to whom, from the point of view of art, his country owes not a few of those works which it treasures most. The portraits of Moro, a wealth of Flemish and Italian paintings and, among others, a very complete collection of Titians, are due to the commands of Philip II, who, before he shut himself up in the Monastery of the Escurial, and during his visits to Italy, Germany and Flanders, was gathering choice examples of the art of that time, and of the period immediately preceding it, installing in the castles of Spain those paintings which are to-day the most important of the foreign collections housed in the Prado Museum.