Rubens imbibed his fondness for allegory; which, though in many respects objectionable, certainly contributes to the magnificence of his style. In 1600, after having studied four years under this master, he visited Italy, bearing letters of recommendation from Albert, governor of the Netherlands, by whom he had already been employed, to Vincenzio Gonzaga, duke of Mantua. He was received by that prince with marked distinction, and appointed one of the gentlemen of his chamber. He remained at Mantua two years, during which time he executed several original pictures, and devoted himself attentively to the study of the works of Giulio Romano. In passing through Venice, Rubens had been deeply impressed with the great works of art which he saw there. He had determined to revisit that city on the first opportunity, and at length obtained permission from his patron to do so. In the Venetian school his genius found its proper aliment; but it is perhaps to Paul Veronese that he is principally indebted. He looked at Titian, no doubt, with unqualified admiration; but Titian has on all occasions, a dignity and sedateness not congenial to the gay temperament of Rubens. In Paul Veronese he found all the elements of his subsequent style; gaiety, magnificence, fancy disdainful of restraint, brilliant colouring, and that masterly execution by which an almost endless variety of objects are blended into one harmonious whole. Three pictures painted for the church of the Jesuits immediately after his return to Mantua, attested how effectually he had prosecuted his studies at Venice. He then developed those powers which afterwards established his reputation, and secured to him a distinction which he still holds without a competitor, that of being the best imitator, and most formidable rival of the Venetian school.