Dori the collection was modeled. Morley’s sacred and key-
board music is influenced by that of Byrd; his madrigals,
canzonets, and balletts are more Italianate in style, but his
Consort Lessons (1599), arrangements of English popular
music for broken consort, are more typically English.
Moro, Antonio (Anthonis Mor van Dashorst) (c. 1519–
c. 1576) Dutch painter
Born in Utrecht, Moro was a pupil of Jan van SCOREL,
whose influence can be clearly seen in Moro’s Tw o
Jerusalem Pilgrims (1544: Berlin). After visiting Italy Moro
came under the influence of Titian, as his portrait of his
patron Cardinal Granvelle (1549; Vienna) shows, al-
though subsequent portraits by him tend towards a more
austere approach. He visited Portugal and in 1554 went to
London and painted his masterpiece: the portrait of Mary
I commissioned by Philip II of Spain. By 1560 he had be-
come painter to the Spanish court and was painting por-
traits of the Hapsburgs in Spain and the Netherlands.
Other works include the portraits Maximilian II (1550;
Prado, Madrid), Sir Henry Lee (1568; National Portrait
Gallery, London), and the Man with a Dog (1569; National
Gallery, Washington). Moro’s pupils included Alonso
Sánchez COELHO.
Morone, Giovanni (1509–1580) Italian churchman
A Milanese by birth, he was appointed bishop of Modena
in 1529, and in 1536 was sent by the pope on a diplomatic
mission to Germany, to prepare for a general council. He
was present at the diets of Hagenau (1540), Regensburg
(1541), and Spires (1542). In 1542 he became a cardinal
and was later also bishop of Novara (1553–60). He was
imprisoned on a charge of heresy (1557–59), but later ab-
solved, and served as the last president of the Council of
TRENTfrom 1563. In 1570 he became bishop of Ostia, in
which role he acted as protector of the ENGLISH COLLEGE
in Rome.
Moroni, Andrea (died 1560) Italian architect
Moroni was active in Padua, where his chief monument is
the courtyard (1552) of the university, with its Tuscan and
Ionic columns. He was also responsible for building the
church of Sta. Giustina, modifying as he did so the origi-
nal plans (1502) by Andrea RICCIO, and for the classical
courtyard of the Municipio, formerly the Palazzo del
Podestà.
Moroni, Giovanni Battista (c. 1525–1578) Italian
painter
Born near Bergamo, Moroni studied under MORETTOda
Brescia and also absorbed the influence of Lorenzo LOTTO.
More than any other artist of the Renaissance he special-
ized in portraiture, chiefly of family groups and single fig-
ures of the people of Bergamo. His most famous painting
is the undated Tailor (National Gallery, London), although
he also produced some less distinguished religious paint-
ings for the churches of Bergamo.Moryson, Fynes (1566–1630) English traveler
Moryson was born in Lincolnshire and studied (1580–86)
at Cambridge. Taking advantage of a fellowship (1590) to
study law at European universities he journeyed through-
out Europe (1591–95) and later in the Levant (1595–97).
After a spell back in Lincolnshire he became secretary to
Queen Elizabeth’s deputy in Ireland (1601–06). An Itiner-
ary (1617), abridged from his voluminous travel notes, is
a pioneering travel book offering a fascinating view of all
the lands Moryson visited, as seen by an opinionated
Protestant with a remarkable eye for telling detail.Moser, Lukas (early 15th century) German painter
Although almost nothing is known about his life and only
one work by him survives, Moser is generally acknowl-
edged as one of the most important German painters at a
time when a national style was beginning to develop. His
altarpiece of the Magdalene (1431) at Tiefenbronn, near
Pforzheim, was executed in the International Gothic style
and is comparable with similar realist works by the Ger-
man Swiss artist Konrad WITZand Jan van EYCK. The
painting includes a lament for the state of contemporary
art: “Cry out, art, cry out and wail! No one wants you now.
So alas, 1431.”Mostaert, Jan (1472/73–1555/56) Dutch painter
In 1507 Mostaert was appointed dean of the painters’
guild in his native Haarlem. By 1521 he was a court artist
to MARGARET OF AUSTRIA, and, although she resided at
Brussels and Malines, Mostaert retained his principal base
in his home town. His earliest work, the Amsterdam Tr e e
of Jesse, is influenced by Geertgen tot Sint Jans and even
his Brussels Passion altarpiece (c. 1520) reveals a debt to
Rogier van der WEYDEN. Mostaert’s West Indian Landscape
(c. 1542) in Haarlem has overtones of Joachim PATINIRbut
seems to have been partly based upon sketches brought
back from the New World. He also painted numerous
highly accomplished portraits, although none of his like-
nesses of the imperial household has survived. The land-
scape backgrounds of his portraits sometimes include
small figure compositions, for example, the legend of St.
Hubert in his Liverpool Portrait of a Man.motet A musical work sung in Latin and, though not
liturgical, often heard during church services. During the
Renaissance motets were frequently composed for cere-
monial events or in honor of a particular person. The me-
dieval technique of isorhythm was continued in motet
composition into the early 15th century; a late example is
DUFAY’s Nuper rosarum flores, written for the dedication of
Florence cathedral (1436). In England John DUNSTABLE
led the way towards the devotional votive motet, withmmootteett 3 32255