At the date we have selected as our starting-point, the leading artists were Jan van Scovel, Antonio Moro, and Pieter Pourbus; the last of Flemish birth, the others born in the northern provinces. Though Pourbus essayed religious subjects, the finest examples of which are in Bruges, he is best known as a portrait-painter, in which branch Moro also excelled. The latter, after studying under Scovel, visited Italy, and upon his return was recommended to Charles V, who despatched him to Madrid and Portugal, and later to England to make a portrait of Queen Mary, the wife of Philip II. Subsequently he was in the latter’s service in Spain, but returned to Brussels, where he found a patron in the Duke of Alva. His portraits are distinguished by evidence of truth to life as well as by their masterly, if somewhat careful, handling. But it was Scovel himself whose life best illustrated the tendencies of the time. Born in Alkmaar in 1495, he studied in Haarlem, Amsterdam, and Utrecht; then in Cologne, Speyer, Strasburg, Carinthia, and Venice, from which last he went to Jerusalem. Returning to Europe, he lived for a while in Rome, where he was appointed superintendent of the Vatican Gallery by his countryman, Pope Adrian IV. On the latter’s death he returned to the Netherlands, living by turns in Utrecht and Haarlem, in one of which cities he died in 1562. Greatly influenced by his sojourn in Rome, he was the first of the strictly Dutch painters to absorb the Italian influence. Among several examples of his style in the Municipal Museum of Haarlem the most remarkable is a portrait group of twelve Knights Templars, with palm branches in their hands, indicating that they have made the pilgrimage to Jerusalem. It is noteworthy both for its characterization and as an early instance of what was to be a special feature of Dutch art--the portrait group. His subject pictures, mostly on religious themes, have the elegant, non-committal character of work that was inspired by outside impulse, though possibly in the landscape backgrounds one may find a foretaste of the Dutch regard for truth of natural surroundings. His work, indeed, like his life, exemplifies the lack of originality and conviction in the temper of the times. It was a period of suspense, succeeding to the vigorous realities of old ideals, scarcely ready for the development of the new. It was a prologue to a new era.