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YelS'zqLrez in Italy: painters, spies, and Low spaniardsEdward L. GoldbergIn 1629-3 l, Diego de Silva Vel6zquez spenr nearly a year1Td . -half in Italy traveling and ^studying works of arr.lThough this first Italian visit is recognized as a crucialchapter in the developmenr of yel6zquJ,s style_and in thehistory of Spanish royal patronug", ,in.. philip IV sponsoredhis trip-we know rarher little ablut the detail and specifics;the painter saw, whom he met, how he .u, p.r_and what innovations he hoped to introduce intopziinting.2The most remarkable and neglected information concern_Vel;izquez's recep.tion in Itaiy was published by CarlJustihundred years ago.s He discovered ih."e letteri of reJom-non_recommendation, as the case may be_by the Madrid ambassadors of the Duke of parma,Grand Duke of Tuscany, and the Republic of Venice.letters make for lively reading, orr" _obur.ador warnsJzelazluez is a spy, another po".,.uy. him as a low_bornclimber, and the third ullo*, thut he is probablybut bears watching nonetheless.Scholars have tended to view these letters as generallytelling more about the narrow_mind.Jp"..ep'_"f a few foreign ambassadors than about the painterand his world. My own impression, however, isthe opposite. I am stnick by the points of consistencythe three letters and their impreisive coherence whenin the context of the turbulent period in which Veldzquezsaw Italy.The painter and art writer Francisco pacheco described his

trip only a few years after its completion.The King, in order to fulfill Veldzquez,s grear desire ro seeItaly and all the wonderful thingi there . . . encouragedhim much, giving himpermission ro go and allowing frimfour-hundred silver ducats for his 1oyug", as well ascontinuing to pay his salary for two y"u.r. V.l,irquez thenappealed to the Count_Duke Olivares and was givenanother two hundred ducats in gold, a medal with theKing's portrait and many letteis of recommendation(rnuchas cartas de fauor).aprocedure for obtaining these letters of recommenda_is described in more detail by a-Uurruaoi atui..in his dispatch ofJuly 2g, 1629 ro rhe Venerian

Brown, Marcus Burke_, John Elliott, Enriqueta Harris, DenisDorothy.schwartz,_andlohn Spitl f.i"ai assisted me inthis article. I would alsdlike tJtnu.rt ih.'Nutlorrul Endow-for the Humanities whose generous ,"pp".i _.a" tfr. p."r"rrtpossible.a recent discussion ofthe riterature on veldzquez's first Italian visit,.B-y. Vekizquez: paintpr and Courticr. Ne. fiaren. 19g6, 69_105.t.heco, Veldzquez's father-inlaw, offers a ,pu.r" b.,t g..r..-convrncrng account of the trip- writing only a few years afGr thela pintura, ed. J.'sanchez'Canion, Madrid, 1955, r,There are few known d-o.,r-.rrtr, -"ri.J.,"fri.f, u." p.rfrtrfr.iVeltizquefi.a, rr, Madrid, 1960.

Senate's inner Council of Ten.i Mocenigo also took pains toqualifi the prima facie assumption lhat Veldzquez wasnecessarily up to no good in undertaking a visit ro their city.Don Giovanni di Vegliella, who is Secretary of State andalso has the title of Counsellor, informed me that CountOlivares, acting on the King,s order,6 has commandedthat passports and letters oi recommenda tion (lettere diraccomandazione) be obtained for Diego Velasquez, painterof the Chamber.ro His Majesty. TLe said V"l.rqu", i,going to Milan with Spinolla, then conrinuing on hi, orvr,to other Italian cities and particularly Venice" in o.d.. tosee and study things pertaining to his profession. Otherambassadors have been similariy approached, as has thePapal Nunzio. Rendering the duei lf .iuit behavior andacceding to His Excellency,s requirements in the King,sservice, I issued the passport urrd guu" him letters forSignor Giorgio Contarini [of S. Marco?1, for Signor VincenzoGrimani [of S. pierro?],7 and on rh; turra f,rma for rheCaptain ofV..orru u.rd for my brother the Commendatore.This painter is young and his visit to Venice is not.suspect, so it seems to me. I accept that the King gave himleave to travel only so that he might enhance t ii p.of"s_. sional skill by seeing the chief citiei of Italy and their most notable works of art. I thought that I should relate all ofthis to Your Excellencies, since he tells me that he will bestopping there. you will thus be able to clraw your ownprudent conclusions regarding how best to deal with him,should he indeed arrive with the lerters I mentioned bothfor the city and for the state ofVenice.

Flavio Atti. Mocenigo's counterpart lrom parma, handeddown exactly the opposite verdict regarding Veliizqu ez,s bonafides. On July 26, 1629, Ambassadol Atti"guu" V.tarq.r";'uformal letter of presentation to Odoardo Fu..r..., Duke ofParma and Piacenza. He then wrote a letter of dire warningto the Duchess.s particularly sensitive passages were ren_dered in code, according to the then ,ro.-il practice ofdiplomatic correspondence.This very day I wrote My Lord the Duke a leter to bebrought to him by Diego Velasquez, Usher and painter ofthe Chamber to his Majesty. He is going to Iraly_he

3 C. Justi, D,iego Vekizquez und sein Jahrhund,ert, 2nd. ed., Bonn, 1g03, u,appendix. docs. l-3.a Arte de lapintura (as in n. 2) r, pp. l58_61.5Justi, doc. 2.6 f'his was the channel rhrough which matters of the highest state werenormally communicated ro-ambassador. ln Uaarld,.,h. ii_; ;;;Olivares by way of DonJuan de Villela.T,Justi's transcription reads^"fu rle ? Marco,,and,,fu de ? p.ro.,, I assumerhat these are abbreviated lormal tirles.8Justi, doc. l.

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says-to improve himself as a painter, bearing letters forRome from the Nunzio and from all the other ambassa-dors as well. lin code: I say, however, that he is going to spy,just like Carlo Pugh.in, who is also in the King's serviceand is going to Milan certainly in the capacity of spy.lNext Sunday they are both leaving with the MarcheseSpinola. Count Olivares wrote a note to Don Giovanni diVilela so as to obtain letters of favor (lettere . . . a faaore)from the representatives of every ruler for this DiegoYelazquez, whom I saw in person. li,n code: Part of thispainter's ploy, I think, is to reap some hawest by gettinggifts from everyone. Nonetheless, it is indeed true that] hepaints in the King's own apartment and I have seen himpainting there many times. He specializes in portraits. Ineffect, his title "Usher of the Chamber" (Uscero di Camera)means little more than porter and signifies less than"Assistant of the Chamber" (Agiutante di Camera)-whichis not his position nor is it to be. He goes before foralternately: bears] the King's goblet when he wishes to eator dine and the King often watches him paint. This then isthe information that I have for you, so that you willunderstand how to treat him. I don't know if the painterAmidano knows him and might get on with him, sincethey are both of the same profession. lin code: Amidano,however, should be warned to watch his tongue.]

The Parmesan ambassador, in his turn, leveled three accusa-tions: that YeI|zqtez was a probable spy associated withanother known spy, that he intended to solicit gifts from theItalians, and that he was a near menial 21 66s11-liltle betierthan a porter. This last issue of social placement was verymuch on the mind of the Tuscan ambassador AverardoMedici di Castellinae when he wrote his brother Giuliano,Archbishop of Pisa, on September 22, 1629.10

Some time ago I gave letters of recommendation (lettere diraccomandazione) to a painter named Diego Velasches whois a favorite of the King and of Count Olivares. He hasgone to Italy with Marchese Spinola and he wants to seeLombardy and Venice before going on to Florence andthen Rome. When he appears, I don't want too much ortoo little to be made of him. It would be well for a painterto offer him hospitality, as if he were doing this on hisown, and for Their Highnesses and the Princes to showhim some favor. Although it is superfluous to remind theCount of anything at all, I would have everyone connectedwith our Princes address him with a Voi muy redondo; as Ihave said, he is a favorite of the King and the Count, anUsher of the Chamber and these days he is much in evi-dence here at court. On returning here, I don't want himbragging to these courtiers and even to Their Majesties

e Averardo was of a collateral branch of the Medici family, distantlyrelated to the grandducal house. See J.W. Imhoff, Genealogie aigintiillustrissiumin ltalin,familiarum, Atnsterdam, 1710, 116-117 (tablevIII).Averardo and his brothers Pietro and Giuliano are inscribed in genera-tion xvrrr, sons of Raffaele de' Medici and Costantia Alamanni.r0ASF/MP 4956, fol. 695, Sept. 22, 1629 (Averardo Medici to Arch-bishop Giuliano Medici). This is a complete and original letter, not acopy or a preliminary draft. For an excellent transcription, see Justi,doc. 3.

that our Princes called him Vostra Signoria or paid him anycourtesy beyond that due to a painter. My suggestion isthat the Grand Duke have him paint his portrait and thengive him a neck-chain with a medal. All the while, theGrand Duke should comport himself with kingly gravityand treat the painter well in the context of his profession;with low Spaniards (Spagnuoli Dassi) you lose either way, byshowing them too much respect or not enough.In short, three chronically overworked ambassadors felt thatthe motives behind Vel6zquez's Italian voyage were murkyenough to warrant special letters of clarification. They,allknew of Vel6zqtrez aL court and they all reported that he wastraveling with the Marchese Spinola.All three letters share a crucial subtext as well: at thatdisastrous moment in history, it was difficult to believe that apainter, particularly a Spaniard with court connections,might undertake an artistic study trip through northern Italywithout an ulterior purpose. In Italy, particularly northernItaly, aspiring Spanish artists were certainly far fiom com-

mon even at the best of times, at least when compared withtheir numerous French and Netherlandish colleagues.In 1628, the long and bitter diplomatic contest for theDukedom of Mantua had finally erupted into open warfare.Lombardy was an armed camp, overmn by the soldiers of theFrench and Spanish alliances. The war showed every sign ofbecoming a particularly horrible one. In Milan, grave foodshortages triggered vehement anti-Spanish uprisings.ll Theplague, carrigd by Spain's infamous German mercenaries,Ioomed as a dread certainty.12Ambrogio Spinola, the brilliant and decisive commanderof the Spanish forces in the Low Countries and recent hero ofthe Siege of Breda (commemorated by Veldzquez a few yearslater in his las La,nzas for the Buen Retiro Palace),I3 wasdespatched to Milan as governor in August of 1629. KingPhilip IV had endowed him with full powers of peace andwar, and the fragile republics and principalities of northernItaly quite rightly saw their very sur-vival in his hands.In the correspondence between the Tuscan governmentand their embassy in Madrid, news from Lombardy andspeculation regarding Spinola's mission overwhelmed allother matters.la Ambassador Averardo Medici's brotherPietro had been sent to Milan in late August to awaitSpinola's arrival, in hope of bargaining down the enforcedTuscan war contribution of money, men, and horses.15 A fewmonths earlier, another brother, Giuliano, Archibishop ofPisa (himself a former ambassador to Spain and the Imperialrl It is not clear whether Yel,5zquez in fact visited Milan. Pacheco,however, records a telling detail from his sojourn in Venice: the paintercould not leave his lodgings in the Spanish Embassy without armedguards "due to the unquietness there." Arte de la pintura (as in n. 2) r,I 58.12The plague struck Milan in late October of 1629, then inexorablymade its way south. By April 1630 it was cited in Rome. As I discuss in aforthcoming article, the plague played a considerable role in shapingVeldzquez's travel plans.t3 The Surrender of Breda or Las Lanzas (Madrid, Museo del Prado) waspainted in 1634-35. Ambrogio Spinola was in fact lrom the Spanishclient state of Genoa.11 ASF/MP 4956 (Madrid to Florence) and,4957 (Florence to Madrid).r5 ASF/MP 4957. Sepr. 3. 1629 tA. Cioli to A. Medicit.

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Court), had been sent north to Susa to attend an inconclusivepeace conference.16 OnJuly 2g, Averardo Medici 6;;;;;:: .hir- own long and intense irrt.*i.* with Spinola inMadrid, at the very moment when letters of.introductionwere being ordered for y ellzquez.tTIn his letter of Septembei ZZ to his brother the Arch_bishop, Averardo lfeaici ,o.rgh, i .f..rfy two rroublingissues: Veliizquez's true connecd,onwith the Marchese Spinolaand the practical implications of fri, air.o.rcertingly grandlerters of introduction. Middling ;;d;r.., courr sernanrsoften traveled in the.conuoy, & f.."i'"tti.i"ls for safety,economy, and convenience. UndeJthe crrcumstances, how_ever, mere coincidence could not be taken for granted.The rulers of norrhern Italy had g;;J.u,rr. to wonder ifvelazquez might nor U" " a;pi"."ric courier operar_under the cover of his artistic .o.r....rr. Since artand patronag.^ 1a. a lively international activitylinked the courts of E.r.op", ii off...a a convenientfor high-level negotiations. This was especially theduring rhe late r620i and .u.ty roeo., when the chiefpowers desperately ,o,rght u g..r".ut armistice andachieve this retied on the dip;_;ri. ;kiil of " ;;.;;';;osmopolitan artists and amaieurs.ls The architect andSir Balthazar Gerbier served the nnglish govern_the painter Sir peter p""f n"U.", the Flemish andand the connoisseur and collector Abbot Cesarescagria the English, sp""irrr, ""a piedmontese.2rAt the same time that Veliizqu;,,";-;;;"ging his IratianPeter paul Rut j,'i":t jiln.j_ry;:Netherlands. The foreig" "*U"rr"a.rs in Madridthe Flemish painter,s ;;i;;;*rh the greatestand they must have considered his example inthe young^Spaniard,s pturrr. Or. September 24,Ambassador Averardo U.alli i"f..med Domenicorhe Tuscan Resident in Milan, ..The famedpainter Rubens has arrived in fvfalrid with eight ofpictures for the King,s palace rr..".;tia*rardo wroreth-e next day, q.rutifyi"g hl, ,t"i._.rrt: ..The painrerhas brought th." ".p"1lng "";;;;i;", of.peace andthough it is seemingly pi.tJ.., ihut fr. nu, bro.rglrr 2u495 7, Apr. 13,1629 (A. Cioli to A. Medici).4956, fols.6cioli). 05-614 (decoded insert)' July 28, 1629 (A.

H. Elliott, The Count-Duhe of Oliaares,New Haven, 1986, Z2?.Sir Balr hazar Gerhier t, | 59 l ? _16671, see The Drtrcna ryof Nationalvrr, 1968. I I 061 I 08; ""d b. ri;;; .t,"n a arunarl and HisNew Haven. 1 9g5. I 9+_95 anJ l 9d '""'' "" '"Rubens's diplomaric u:l:ily. see G. Cr_uzad a Villaamil, Rubens,esltaio!. Madrid. ,t874:';.'i,.-cr".n'i1"" tstoirc politiqu? cta t i q u e d e p i e ne - pa u I R u brrr. B;rr;ir.l;;;' ;;d,nuinns,"ii."il ;.'M;*.", cambridge, vurr.. rcs[!, Letters ojpeterScaglia (d. 164 l). see O. Millar, Vun Dyrh in Engtand,exh. cal.,ortrat t,G att v' I gs z-s s, ?.. t i -i ^a c. B r ow n. r h iN"',r"" :;ri:;:;y"'nd chitd' (Van Dvck) 1r"*ti"g i" For;,,' roi,5025, Seot. 24 I 62 g. (A. M^edici to D. pandolfi ni) :,,f arrivatoil Rubens hamingo, pinror,r ;;;;; ;; ;;';:::*:l:ili, pei seruizio d' 'a;;il;;,,; H:frllj!,";#i'.:(A. i4#;; 'i:'i'91!' uPP.u" in ASF/MP 4e56, rol' 2l e,'s;;t.

vwAzqur.z rN rrAt-y 4bbOn September 3, 1629, while Velizquez was traveling inSpinola's entourage, Averardo sent ffited informadon onRubens to State Secretary Andrea Cioli in Florence. ,,TheSpanish, in order to attend to Italian matters without thedistraction of England, h.u. .u.rr- otre.ea to restore thePalatinate, which they hotd in o.a., to _ut e peace with thatkingdom. The English are wiltnf .lirr." to this, and aspecial messenger arrived ftom ti... ,.rrt ny the famouspainter Rubens. He went to England under the pretext of hisprofession but is negotiating th"ese _urr".-r.,,rnAt this stage in his .areeivetarq,r.. rrua [ttle of Rubens,s;;:'i:;Tlf ,fri,,;":,.", u"t tr'J u"J.i c""., ,.",..iiAverardo,s,",,..-o?nlL,i:,J;X,3t,J,..ili;;#lil'il"1i,

three weeks later, onsepteniber zz, toii,was bound in withState Secretary Ciolls o*^ .oo..p;;l;.., we thereforeknow that ir circurated i" trt. rrigtt"ri.phl.. of'the Florendnegovernment.Averardo Medici,o n ty a p ainte._,n "1 T' ililT#:?'nfl::*x:::17esteemed 6eu11ls1_4nd was to be received as such. Withinthese limits, however, h. ...o-_."1;';. most flatreringtreatment, culminating in a grandducal commission and thebestowal of a chain o1 norri. *irfr-" p".r.ait medallion.25Atti's letter to parma was remarkably similar in tone, empha_sizing that yelilzquez_vt least in ,o.iut t.,artist".and " p.if "m.ial who .-J;;":n;X,.''#'#:::,T]y b;. hjs opposite number u, ,h. pu.-.san court, theparnter Giulio Cesare Amidano. The Venetian tlo..rrlgotl.y:d things from a somewhat ditr;;.rr;;..spective, con_cluding nonetheless that Veliizqu., rvu, _.i"ly a painter andthus not a government problem.The Tuscan ambassadorvoiced his chief fe* y"d:9, Vrtarqurrmight brag to those ",Tfi:tj:tl:io the King and eueen aboui the level of courtesy hereceived in Florence. This was no idle ,o.ry, as AverardoMedici knewwell aftesomeperson",._0.;;::';J;l; ji,ffj"r#lshcapitarandBaroque ceremonial wa, barJd o., u=rirnpt" principle:every degree of status conceded to another was that muchlost ro oneself.zo In Madrid itwould see;;;, the Medici had

23 ASF/Mp 5075. Seor. 2b; 1628.(.4. Medici ro D. pandol6ni): ,.ll pirtorRubens ha porraro nrin

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456 THE ART BULLETIN SEPTEMBER 1992 VOLUME LXXIV NUMBER 3no status to spare. Though they were ostensibly sovereignprinces, Tuscany was in effect a Spanish clienr state. Tf,eKing occupied the strategic Tuscan enclave of pontremoli,zland the Grand Duke owed him feudal dues for the provinceof Siena. Medici political f611uns5-5uch as thevderived largely from their position in the Spanish.ph... undfrom Spanish recognition of their titles and prerogatives.?8Etiquette was an agonizing trial for u-Lur.uJor, "u"ry_here and probably nowhere more so than at the court ofMadrid. Though an apparently rigid ceremonial prevailed,royal favorites like the Count-Duke Olivares made up theirown rules. Foreigners in Spain found themselves at a constantdisadvantage, and even in Italy Spanish titles and Spanishpretentions were generally accorded an inflated value.Diego Veliizquez's social aspirations might well have beenstimulated by Peter paul Rubens's visit to Madrid in i62g_29, just before his own trip.2e The Italianized Flemingso wasaccredited at court as a royal ambassador; he had received apatent of nobility in 1624 and was named Secretanr of theCouncil of Flanders in April of 1629. Such grandiose reat_ment was exceptional for an artist anywhere, and in sociallyconservative Madrid it was little less than startling.3lOne of the few incontrovertible points ..gu.di.rg yel6z_quez's career and character is that he was a determined socialclimber and a remarkably successful one. He lobbied dog_gedly for court positions, withdrawing eventually from th"erelatively plebeian art of painting forlhe suke oi a Knight_hood of Santiago.3z Since status ln court society wu, d."t.._3i:-.d largely by precedenr and usage, any ambiguity inVel6zquez's position at the Medici Courl could have had widerepercussions. If the Grand Duke of Tuscany, for example,addressed him as "your Lord ship" (Vostra Signorial inflorence, the Tuscan Ambassador irrMadrid woulJ probablyhave been compelled to follow suit, establishing in ,rr.., uprecedent for other ambassadors and courtiers.The Ambassador of parma cautioned that Diego V elazquezhad his eye on a harvest of gifts. As painter of the Chamber tothe King of Spain, yellzquezmightwell have looked forwardto honorific "gifts in payment" for works executed in Italv forprincely patrons. The neck-chain and medal p.opor.i bythe Tuscan Ambassador would have been a typlcit ca.".3!The Parmesan diplomat,s warning, however, probably alsoreflected general Italian prejudices and his own immediateexperience of the peculiar culture of the Madrid Court.

' r'-_Goldber,g, "spanish Taste, Medici politics and a Losr Chapter inthe History ol Cigoli's Errc Homo.', B u il r;gio;- Mo;;ozrre. cxrxrv. Feb.1992.28 F. Diaz, Il Grand,ucato d,i Toscana.: I Medici, Turin, 1926, 2lSt_4A5. hthese years. the Medici were jusr beginning i;;;;";;J;.-;rr"ir"*..1whelming reliance on waning:Spa"iri p"*?.,1".","rffy optirrg fo. umisconceived and badly realiz*ed poticy o'f UaUnci"g S;u"irl, urrd Frenchclaims.2e For Rubens in Madrid and his association with Veliizquez, see Brown(as in n. 2).65-68.30 Rubens corresponded with the Count-Duke Olivares in Italian andl.l.,,b^*L:p..k.,:hl, ITryug_. at the Spanish .o,..r, or.lr" a Spurrirfr_It?lt3n prdgln. (Pietro Paolo Rubens: Leitere ltaliane, ed. I. Cotta, Rome,I 987;.letters 148-t b7, I 60-l 7 I ).31 In Madrid, Rubens's accreditation as ambassadorwas hotly contestecl;many in the government saw his appoinrment as highly irripp.op.iui"and even insulting to the Spanish i.o*rl. Se. Elli"it?;, in n. lB above).32 See Brown, 2|l-2b7.

Though the Italians entertained profound ambivalenciestoward their Spanish cousins, the first adjective that came rotheir minds in describing them, after ;,proud,,, was mostpro!{]f "grasping." For an experienced diplomat, thiswould have been especially evident in Madrid where thegenteel bribery that characterized European court life wasseen to have reached epidemic proportions, perhaps due tothe perennial difficulty in collecting salaries flom the King.3aThe powerful and resented ,,presenter of the Ambassadors-,,35levied what was in effect a substantial tax on access to theroyal presence, and even minor officials expected a regulardisbursement of gifrs and gratuiries.36Eliciting such gifts and gratuities (or ,,cortesie,, and"gentrlezze," as they were elegantly termed) was thus honor_able and institutionalized. While rraveling in Italy as apro16g6 of the King and the Count-Duke, Oi.go yei6,zque,might have anticipated his fair share, particulaily if he wereapproached-as he surely must have been_for informationand insights on affairs in Spain.. h_. Yel|zquez a spy? During his trip, the painter wouldhave been well placed to overhear Italian courigossip and toassess prevailing attitudes toward Spanish interests. Through_out his travels, he was in close touch with the local Spanlshauthorities and would certainly have reported to themanything of interest that came his way. The parmesanAmbassador was thus quite right that Amidani should watchhis tongue-though mistaken in implying thar art wasmerely a cover for Veldzquez,s secret miision.Diego Veldzquez was a brilliantly resourceful painter and1629-31 was a crucial phase in his artistic devel'opment, asdemonstrated by the ambitious works he created on Italiansoil and in Spain soon after his return. In the seventeenthcentury, however, artistic dedication need not have ruled outother activities. Like yelilzquez's contemporaries, we shouldbe attenrive to the possibility that these activities might haveincluded social-climbing, gift-collecting, and perhap, even abit of amiable spying.

Edward L. Goldberg receiaed a doctorate in art historyfrom Oxford.lnia_nsity and has taught at Haraard,. An independ,ent sciolarbased in Neu Yorh and, Florence, he is the authoi o/parterns inLate Medici Art patronage (19g3) awl After Vasari (l9gg;both Princeton [Jniuer.sity press [10 East plaza Street, Broohlynt,N.Y. 112381).33 There is no indication that Veldzquezrvas awarded honorific gifts ofthis kind during his 1629-31 trip to Iraly. a..o.ai"g to palomino, hereceived a gold neck chain with a portiait m.aaiiSn ol.Innocent XPamphili in the aftermath of his 1649_5.1 tlp in return for paintingthePope's portrait. A. palomino, Liaes of the Ekinent ipanlsh painters and.Srulptort. Cambridge. 1986, l5g.3a On Nov. 19, 1630, Averardo Medici reported orr the woetll indigencelf^"""jlTl, t:"i, rhe gi fted Tuscan en giire.. u.,J tfr.ut.i.uf a.ri gfi .; uitne bpanrsh Ljourt, ".". . trovarsi in necessiti, non havendo di che"vivere,perche il Re n-o_n_paga nessuno.,'ASF/MP 495g, Nov. lg, 1630 (M.Baglione ro A. Cioli).'j e -l Loomie, "The Cond,ucteur des Ambassad,ezrrs o1. Seventeenth9:lj"?^I.ll:e and Spain,', Reaue Belge de phitotogie et d,Histoire, uu,r 975. 333_356.36 The Tuscan.agents in Madrid had to explain this curious local custom1,C.lT,Td again ro their government in Fiorence, usually at tf." ti-. oisubmtltlng I hetr expense accounl s.