But meanwhile the true national output of those years, mostly of religious pictures, was destined for the churches and convents, and must no longer be regarded as of minor importance. Meanwhile, also, by royal command, there arrived in Spain the works of foreign masters, and in Court circles there arose a style of painting exclusively devoted to the _genre_ of the portrait, and which is known to-day as the school of portraitists of Philip II and Philip III. Its origin is known to us. It is due to the teaching which our painters received from that famous Hollander, Antonis Moor, who had so close a relation with our country that his name has become hispanicised, and who is equally well known to-day by his Dutch name, as by the more Spanish-sounding Antonio Moro. Patronised by Philip II, he gave instruction to certain Spanish painters, especially to one, Alonso Sanchez Coello, who was his disciple and successor in art. Another Spanish follower of his, besides Coello, was Pantoja de la Cruz, and the third and last of those who maintained this school and who completed its cycle, was Bartolomé González, who flourished during the first years of the reign of Philip IV. Other portrait painters, disciples and imitators of these might be mentioned, but the artists alluded to typify this school, brief in its development, very distinguished and typical, though, as we have said, not of Spanish origin. Their characteristics are quite unmistakable. They paint a life-like portrait, dry, hard, minute in execution, and complete in all its details, to the treatment of which they pay much attention, especially as regards personality. But although skilful and sincere, their school degenerated and the last of its manifestations is practically an imitation of the first, possessing little excellence and scanty inspiration. Portrait painters of the Court, as we have indicated, the works of these men, though in general replete with strong personality, especially as regards the royal family portraits, have been scattered throughout the world, and were practically confined to the palaces of other reigning houses.