Among the painters summoned from Italy by Philip II the best known are Frederico Zucchero, Pelegrino Tibaldi, Bartolomeo Carducho and Patricio Caxés. They were men of facile but inferior ability, whose work is of little interest in itself and has no part, except that of an interlude, in the development of native art. On the other hand a definite and distinguished rôle was played by the Flemish painter, Antony Mor or Moro. He had been portrait painter to Charles V in Flanders, and in 1552 came to Spain in the train of Cardinal Granvilla. During a prolonged stay at the Spanish Court he enriched his Flemish method by study of the portraits by Titian which the emperor had accumulated. Moro’s teaching and influence started the Castile School of portrait painting. His best pupil was Alonso Sánchez Coello, (?-1590) whose portraits are vital records of personality, although somewhat trivialized by the elaboration of meticulous detail. CHAPTER IV A PANORAMIC VIEW _Part II: Seventeenth Century to the Present Day._ The seventeenth century was the golden age of Spanish art, as it was of the art of Holland; product in the one case of national decline, in the other of national growth. While Spain was neglecting her national resources, losing her morale and wasting money and men on a vain effort to enslave the Dutch, the latter, in their fight for liberty, built up their national character and developed the resources of their country. Yet, under conditions so different, the genius of each people was liberated, threw off the shackles of foreign influence and discovered its own racial expression in painting. Each of the great schools had its protagonist: Valencia, José Ribera (1588-1656); Andalusia, Murillo (1618-1682); Castile, Velasquez, (1599-1660). Meanwhile, as we have noted, the early part of the century was occupied by the great artist, El Greco. As these will be discussed in separate chapters, it remains to note the most important of the lesser painters of the period under their respective schools.