the Spanish court is confirmed by the letters which Philip regularly sent to Mor after he had left again in 1561. In his letters, Philip requested Mor's return to court several times, but the painter never complied with his repeated requests. Among the works which Mor supposedly painted in Spain are the Portrait of Juana of Austria and the Portrait of Don Carlos. A much-praised work from this period is the Portrait of Pejerón, the fool of the Earl of Benavente and the Duke of Alba. There has been extensive speculation about the reason for Mor's departure from the Spanish court. According to Carel van Mander, Mor became too confidential with the king and this aroused the suspicion of the Inquisition. He may also have been alarmed by the increasingly repressive Counter-Reformation tenor of the Spanish court. Mor's pupil Alonso Sánchez Coello continued to work in his master's style, and replaced him as the Spanish court painter. Return to the Netherlands On his return to the Netherlands, Mor probably traveled back and forth between Utrecht, Antwerp and Brussels. In this period he was in regular contact with Granvelle and also worked at the Dutch court, where he portrayed Margaretha of Parma. After his return, Mor focused on the portrayal of citizens, especially of merchants and their wives in Antwerp. In addition to portraits like these (which included the Portrait of Thomas Gresham), he also painted artisans, such as the goldsmith Steven van Herwijck (1564). These works are markedly different from the paintings Mor produced for the court, showing off another side of his talent. When Granvelle returned to France and the Netherlands showed increasing social and political unrest, Mor experienced some financial hardship. His financial problems were partially solved when the Duke of Alba granted him commissions and favors. He is not known to have been in Utrecht after 24 July 1567 and from 1568 onwards Mor lived in Antwerp where, in 1572, he registered as a master with the Antwerp guild. At Antwerp he painted a Venus and Adonis for the new Stadhuis. It is possible that he visited England once again in 1568, judging from the Portrait of a Nobleman with Dog and of the Portrait of Sir Henry Lee, which have been attributed to him. In 1559 and 1562 Mor painted two portraits of Margareta of Parma. On her way to Spain, Anne of Austria spent some