made on an ivory tablet. This gracious custom seems to have come down
from the time when the owners of precious books constantly employed
scribes and expert illuminators in making copies for distribution. The
work done in the scriptoriums of the monasteries, we know, was sent away
as presents, or in exchange for other volumes.

Rubens set diligently to work copying in the galleries of Mantua; and
whether the Duke was happier because he had discovered Rubens than Rubens
was because he had found the Duke, we do not know. Anyway, all that the
young painter had hoped and prayed for had been sent him.

Here was work from the very hands of the masters he had long worshiped
from afar. His ambition was high and his strong animal spirits and
tireless energy were a surprise to the easy-going Italians. The galleries
were his without let or hindrance, save that he allow the ladies of the
Court to come every afternoon and watch him work. This probably did not
disturb him; but we find the experienced Duke giving the young Fleming
some good advice, thus: "You must admire all these ladies in equal
portion. Should you show favoritism for one, the rest will turn upon you;
and to marry any one of them would be fatal to your art."

Rubens wrote the advice home to his mother, and the good mother viseed it
and sent it back.

After six months of diligent work at Mantua we find Rubens starting for
Rome with letters from the Duke to Cardinal Montalto, highly recommending
him to the good graces of the Cardinal, and requesting, "that you will be
graciously so good as to allow our Fleming to execute and make copies
for us of such paintings as he may deem worthy."