future favors to be received--which feeling we are told is gratitude. The
entire ceremony must be carried out appropriately--the poetic unities
being fully preserved. Therefore a skilful painter must be sent with the
pictures, in order to see that they were safely transported, properly
unpacked, and rightly hung.

Instructions were given to Peter Paul Rubens, the artistic ambassador, at
great length, as to how he should proceed. He was to make himself
agreeable to the King, and to one greater than the King--the man behind
the throne--the Duke of Lerma; and to several fair ladies as well.

The pictures were copies of the masters--"Titians," "Raphaellos,"
"Tintorettos" and "Leonardos." They were copied with great fidelity, even
to the signature and private marks of the original artist. In fact, so
well was the work done that if the recipient inclined to accept them as
originals, his mind must not be disabused. Further, the envoy was not
supposed to know whether they were originals or not (even though he had
painted them), and if worse came to worst he must say, "Well, surely they
are just as good as the originals, if not better."

Presents were taken for a dozen or more persons. Those who were not so
very artistic were to have gifts of guns, swords and precious stones. The
ambassador was to travel in a new carriage, drawn by six horses and
followed by wagons carrying the art treasures. All this so as to make the
right impression and prove to Madrid that Mantua was both rich and
generous. And as a capsheaf to it all, the painter must choose an
opportune moment and present his beautiful carriage and horses to the
King, for the belief was rife that the King of Spain was really more
horsey than artistic.