This article is centered on the fandango as topic in Boccherini's music. Through the analysis of the String Quintet op. 10, n. 3 G 267, I observe how the topic emerges along the four movements of this musical work, assuming a leading role in its expressive plot. My aim is to consider on a side the original way of boccherinian use of topics. On the other side I want to come, by a less usual point of view and bringing new elements, on the critical point of the relations between Boccherini's chamber music and contemporary spanish folk music, especially spanish dances. Interpreting the fandango hints appearing in the String Quintet G 267, I try to deduce something on their sense as for expression in Boccherini's music.