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.