Rome on 14 January 1509, and was back at The Hague by 28 June 1509. Although the details are unclear, it seems that Gossaert remained in Philip's employment until he died in 1524, by then Bishop of Utrecht. However, throughout this time he was able to work for other patrons, mostly friends of Philip. In 1509–17 Gossaert was registered as a resident of Middelburg. According to Van Mander he was one of the first Flemish artists to bring back the Italian manner of painting with much nudity in historical allegories. From 1517 to 1524 he is registered at Duurstede Castle where according to the RKD, he had Jan van Scorel as pupil. From 1524 onwards he returned to Middelburg as court painter to Adolf of Burgundy, another Habsburg relative. Jan Mertens the Younger was another pupil. He was a contemporary of Lucas van Leyden, and was influenced by artists who came before him, such as Rogier van der Weyden, the great master of Tournai and Brussels and, like him, his compositions were usually framed in architectural backgrounds. Works Gossaert shows Antwerp influence in the large altar-pieces previously located at Castle Howard and Scawby. The bright and decided contrasts of pigment in colored reliefs are like Hans Memling, and the cornered and packed drapery are like Van der Weyden, while the bold but Socratic cast of face are like the works of Quentin Matsys. At Scawby he illustrates the legend of the count of Toulouse, who parted with his worldly goods to assume the frock of a hermit. His altarpiece of the Descent from the Cross with heavy double doors in Middelburg was admired by Albrecht Dürer before the church itself was hit by lightning. This is possibly the work now in the Hermitage, though Van Mander stated the lightning destroyed it and describes another Descent of the Cross in the possession of Mr. Magnus of Delft in 1604. At Castle Howard, the Earl of Carlisle had obtained The Adoration of the Kings previously created for the Grandmontines, which throws together some thirty figures on an architectural background, varied in detail, massive in shape and fanciful in ornament. This painting is now on display at the National Gallery, which bought it in 1911. Gossaert surprises the viewer with pompous costume and flaring contrasts of tone. His figures, like pieces on a chess-board, are often rigid and conventional. The landscape which shows