t as the Holy Virgin, was most gratifying to the
phrenological development of approbativeness of the said senator and
lady. Then, as the painter had pictured one, he must do as much for
others, so there could be no accusation of favoritism.

Thus the months passed rapidly. The Duke of Lerma writes to Chieppo, "We
desire your gracious permission to keep the Fleming another month, as
very special portraits are required from his brush."

The extra month extended itself to three; and when at last Rubens started
back for Mantua it was after a full year's absence.

The embassy was a most complete success. The diplomat well masked his
true errand with the artist's garb: and who of all men was ever so well
fitted by Nature to play the part as Rubens?

Yet he came near overdoing the part at least once. It was in this wise:
he really was not sure that the honors paid him were on account of his
being a painter or a courtier. But like comedians who think their forte
is tragedy, so the part of courtier was more pleasing to Rubens than
that of painter, because it was more difficult. He painted with such ease
that he set small store on the talent: it was only a makeshift for
advancement.

Don John, Duke of Braganza, afterward King of Portugal, was a lover of
art, and desired to make the acquaintance of the painter. So he wrote to
Rubens at Madrid, inviting him to Villa Vitiosa, his place of residence.

Rubens knew how the Duke of Mantua did these things--he decided to follow
suit.

With a numerous train, made up from the fringe of the Madrid Court, with
hired horsemen going before, and many servants behind, the retinue
started away. Coming within five miles of the villa of Don John, word was
sent that Rubens and his retinue awaited his embassy.

Now Don John was a sure-enough duke and could muster quite a retinue of
his own on occasion, yet he had small taste for tinsel parades. Men who
have a real good bank-balance do not have to wear fashionable clothes.
Don John was a plain, blunt man who liked books and pictures. He wanted
to see the painter, not a courtier: and when he heard of the style in
which the artist was coming, he just put a boy on a donkey and sent word
out that he was not at home. And further, to show the proud painter his
place, he sent along a small purse of silver to pay the artist for the
trouble to which he had been. The rebuke was so delicate that it was
altogether lost on Rubens--he was simply enraged.