Cromwell had given Hoby minute instructions as to his behaviour on this occasion, and had composed a long and elaborate speech which he was to deliver to Christina herself.
"The said Philip shall, as of himself, express a wish that it might please the King, now a widower, to advance Her Grace to the honour of Queen of England, considering her virtuous qualities were a great deal more than ever was notified, and for a great confirmation of amity and love to continue between the Emperor's Majesty and the King's Highness."
Hoby was charged to take careful note of the Duchess's answers, gestures, and expression, and was especially to note if she seemed favourably inclined to these proposals, in order that he might be able to satisfy Henry's anxiety on the subject.[180]
Philip Hoby was too accomplished a courtier not to discharge his errand with tact and courtesy. The Duchess was graciously pleased to accede to his request, and at one o'clock the next day Holbein was ushered by Messer Benedetto into his mistress's presence. The time allowed for the sitting was short, but Master Hans was an adept at his art, and had already taken drawings in this swift and masterly fashion of all the chief personages at the English Court.
"Having but three hours' space," wrote Hutton, "he showed himself to be master of that science. For his picture is very perfect; the other is but slobbered in comparison to it, as by the sight of both your lordship shall well perceive."[181]
An hour afterwards Hoby and the painter both took leave of the Duchess and started for England. In order to avoid suspicion and observe the strict secrecy enjoined by Cromwell, Hoby did not even seek a farewell audience from the Regent, who contented herself with sending friendly greetings to the Lord Privy Seal, saying that he should hear from her more at large through the Imperial Ambassadors.
March, 1538 AT HAMPTON COURT
The precious sketch, from which Holbein afterwards made "the great table"[182] which hung in the Palace of Westminster until Henry's death, was safely delivered into Cromwell's hands, and shown by him to the King on the 18th of March. Henry was singularly pleased with the portrait, and, as his courtiers noticed, seemed to be in better humour than for months past. For the first time since Queen Jane's death he sent for his musicians, and made them play to him all the afternoon and evening. Two days afterwards he went to Hampton Court, and "gave orders for new and sumptuous buildings" at this riverside palace. After that he returned to Whitehall by water, accompanied by his whole troop of musicians, paid a visit to his brother-in-law's wife, Katherine, Duchess of Suffolk, and resumed his old habit of going about with a few of his favourites in masks—"a sure sign," remarked Chapuys, "that he is going to marry again."
The Imperial Ambassadors, Chapuys and his colleague Don Diego Mendoza, were now treated with extraordinary civility. They were invited to Hampton Court, where Henry entertained them at a splendid banquet, and showed them his "fine new lodgings" and the priceless tapestries and works of art with which Cardinal Wolsey had adorned this magnificent house. The next day they were taken to the royal manor of Nonsuch to see the little Prince, "one of the prettiest children you ever saw, and his sister, Madam Elizabeth, who is also a sweet little girl." Then they went on to Richmond to visit Princess Mary, who played to them with rare skill on both spinet and lute, and spoke of her cousin the Emperor in terms of the deepest gratitude. The French Ambassadors, Castillon and the Bishop of Tarbes, who arrived at Hampton Court just as the Imperial Envoys were leaving, were received with marked coolness, a treatment, as Chapuys shrewdly remarks, "no doubt artfully designed to excite their jealousy."[183]