[359] Wriothesley, Chronicle, vol. ii., p. 103.
[360] Lingard, vol. v., p. 405, 5th edition.
[361] Henry II. rejoiced greatly at the passing of the act confirming Mary’s legitimacy, as it ipso facto, as he thought, removed the one barrier between Mary and the succession of his daughter-in-law the Queen of Scots, the next legitimate heir to the English throne. Both sisters could not be legitimate (Henry to de Noailles, Ambassades, ii., p. 250).
[362] The Book of Common Prayer is called in the Act of Parliament “a new thing, imagined by a few of singular opinions”.
[363] De Noailles, Ambassades, ii., pp. 143-48.
[364] Ibid., p. 186.
[365] Griffet, xxviii.
[366] When Mary told Gardiner that she would never marry Courtenay, the Chancellor replied with tears, owning that he had entertained an affection for the young man from the time of their mutual imprisonment. Mary then asked him whether it was proper for her to marry him just because her Chancellor was fond of him in prison (Renard to the Emperor, Record Office Transcripts).
[367] Belgian Transcripts, Record Office, vol i., pp. 497-505.
[368] She charged Renard to inform Mary that it had been painted three years previously, and that, like all Titian’s works, it required to be studied at a little distance, in order to perceive the likeness. She added, that since it had been executed, Philip had matured and had grown more beard. About this time, Cardinal Granvelle sent the painter, Antonio More, to England to paint Mary’s portrait for Philip. She sat to him at different times, and he painted several fine portraits of her. The principal one is at Madrid, in the Museo del Prado.