MORE (Sir Antonio), an eminent painter, was born at Utrecht in 1719. He became a scholar of John Schorel, but seems to have studied the manner of Holbein, to which he approached nearer than to the freedom of design in the works of the great masters that he saw at Rome. Like Holbein he was a close imitator of nature, but did not arrive at his extreme delicacy of finishing; on the contrary, Antonio sometimes struck into a bold and masculine style, with a good knowledge of the chiaro scuro. In 1522, he drew Philip II. and was recommended by cardinal Granvelle to Charles V. who sent him to Portugal, where he painted John III. the king, Catherine of Austria his queen, and the infant Mary first wife of Philip. For these three pictures he received 600 ducats, besides a gold chain of 1000 florins, and other presents. He had 100 ducats for his common portraits. But still ampler rewards were bestowed on him when sent into England, to draw the picture of queen Mary, the intended bride of Philip. They gave him 1000 l. a gold chain, and a pension of 100 l. a quarter as painter to their majesties. He made various portraits of the queen; one was sent by cardinal Granvelle to the emperor, who ordered 200 florins to
Antonio. He remained in England during the reign of Mary, and was much employed; but having neglected, as is frequent, to write the names on the portraits he drew, most of them have lost part of their value, by our ignorance of the persons represented. On the death of the queen, More followed Philip into Spain, where he was indulged in so much familiarity, that one day the king flapping him pretty roughly on the shoulder, More returned the sport with his hand-stick; a strange liberty (Mr Walpole observes), to be taken with a Spanish monarch, and with such a monarch! A grandee interposed for his pardon, and he was ordered to retire to the Netherlands; but a messenger was dispatched to recall him before he had finished his journey. The painter, however, sensible of the danger he had escaped, modestly excused himself, and proceeded. At Utrecht, he found the duke of Alva, and was employed by him to draw several of his mistresses, and was made receiver of the revenues of West Flanders; a preferment with which they say he was so elated, that he burned his easel, and gave away his painting tools. More was a man of a stately and handsome presence; and often went to Brussels, where he lived magnificently. At what time or where he was knighted, is uncertain. He died at Antwerp in 1575, in the 56th year of his age. His portrait, painted by himself, is in the chamber of painters at Florence, with which the great duke, who bought it, was so pleased, that he ordered a cartel with some Greek verses, written by Antonio Maria Salvini his Greek professor, to be affixed to the frame. Another picture of himself, and one of his wife, were in the collection of Sir Peter Lely. King Charles had five pictures painted by this master. Mr Walpole mentions a number of others that are in England. But More did not always confine himself to portraits. He painted several historic pieces, particularly one much esteemed of the resurrection of Christ with two angels, and another of Peter and Paul. A painter, who afterwards sold it to the prince of Condé, got a great deal of money by showing it at the foire St Germain. He made a fine copy of Titian's Danae for the king; and left unfinished the Circumcision, designed for the altar in the church of our Lady at Antwerp.