Through the bust portrait of the king, painted in 1623, Velázquez secured admission to the royal Service, with a salary of 20 ducats per month, besides medical attendance, lodgings and payment for the pictures he might paint. The portrait was exhibited on the steps of San Felipe and was received with enthusiasm. It is now lost. The Museo del Prado, however, has two of Velázquez's portraits of the king (nos. 1070 and 1071) in which the severity of the Seville period has disappeared and the tones are more delicate. The modeling is firm, recalling that of Antonio Mor, the Dutch portrait Painter of Philip II, who exercised a considerable influence on the Spanish school. In the same year, the Prince of Wales (afterwards Charles I) arrived at the court of Spain. Records indicate that he sat for Velázquez, but the picture is now lost. In September 1628, Peter Paul Rubens came to Madrid as an emissary from the Infanta Isabella, and Velázquez accompanied him to view the Titians at the Escorial. Rubens was then at the height of his powers. The seven months of the diplomatic mission showed Rubens' brilliance as Painter and courtier. Rubens had a high opinion of Velázquez, but he had no significant influence on his painting. He reinforced Velázquez's Desire to see Italy and the works of the great Italian masters.