the red-brick house, new-built, offers its bright facade to the river. He strolls towards it, through the mulberry trees. Standing in the porch, under the honeysuckle, Stephen Gardiner. The grounds at Chelsea are full of small pet animals, and as he approaches, and his host greets him, he sees that the Chancellor of England is holding a lop-eared rabbit with snowy fur; it hangs peacefully in his hands, like ermine mittens.
‘Is your son-in-law Roper with us today?’ Gardiner asks. ‘A pity. I hoped to see him change his religion again. I wanted to witness it.’
‘A garden tour?’ More offers.
‘I thought that we might see him sit down a friend of Luther, as formerly he was, yet come back to the church by the time they bring in the currants and gooseberries.’
‘Will Roper is now settled,’ More says, ‘in the faith of England and of Rome.’
He says, ‘It's not really a good year for soft fruit.’
More looks at him out of the tail of his eye; he smiles. He chats genially as he leads them into the house. Lolloping after them comes Henry Pattinson, a servant of More's he sometimes calls his fool, and to whom he allows licence. The man is a great brawler; normally you take in a fool to protect him, but in Pattinson's case it's the rest of the world needs protection. Is he really simple? There's something sly in More, he enjoys embarrassing people; it would be like him to have a fool that wasn't. Pattinson's supposed to have fallen from a church steeple and hit his head. At his waist, he wears a knotted string which he sometimes says is his rosary; sometimes he says it is his scourge. Sometimes he says it is the rope that should have saved him from his fall.
Entering the house, you meet the family hanging up. You see them painted life-size before you meet them in the flesh; and More, conscious of the double effect it makes, pauses, to let you survey them, to take them in. The favourite, Meg, sits at her father's feet with a book on her knee. Gathered loosely about the Lord Chancellor are his son John; his ward Anne Cresacre, who is John's wife; Margaret Giggs, who is also his ward; his aged father, Sir John More; his daughters Cicely and Elizabeth; Pattinson, with goggle eyes; and his wife Alice, with lowered head and wearing a cross, at the edge of the picture. Master Holbein has grouped them under his gaze, and fixed them for ever: as long as no moth consumes, no flame or mould or blight.
In real life there is something fraying about their host, a suspicion of unravelling weave; being at his leisure, he wears a simple wool gown. The new carpet, for their inspection, is stretched out on two trestle tables. The ground is not crimson but a blush colour: not rose madder, he thinks, but a red dye mixed with whey. ‘My lord cardinal liked turkey carpets,’ he murmurs. ‘The Doge once sent him sixty.’ The wool is soft wool from mountain sheep, but none of them were black sheep; where the pattern is darkest the surface has already a brittle feel, from patchy dyeing, and with time and use it may flake away. He turns up the corner, runs his fingertips over the knots, counting them by the inch, in an easy accustomed action. ‘This is the Ghiordes knot,’ he says, ‘but the pattern is from Pergamon – you see there within the octagons, the eight-pointed star?’ He smooths down the corner, and walks away from it, turns back, says ‘there’ – he walks forward, puts a tender hand on the flaw, the interruption in the weave, the lozenge slightly distorted, warped out of true. At worst, the carpet is two carpets, pieced together. At best, it has been woven by the village's Pattinson, or patched together last year by Venetian slaves in a backstreet workshop. To be sure, he needs to turn the whole thing over. His host says, ‘Not a good buy?’
It's beautiful, he says, not wanting to spoil his pleasure. But next time, he thinks, take me with you. His hand skims the surface, rich and soft. The flaw in the weave hardly matters. A turkey carpet is not on oath. There are some people in this world who like everything squared up and precise, and there are those who will allow some drift at the margins. He is both these kinds of person. He would not allow, for example, a careless ambiguity in a lease, but instinct tells him that sometimes a contract need not be drawn too tight. Leases, writs, statutes, all are written to be read, and each person reads them by the light of self-interest. More says, ‘What do you think, gentlemen? Walk on it, or hang it on the wall?’
‘Walk on it.’
‘Thomas, your luxurious tastes!’ And they laugh. You would think they were friends.
They go out to the aviary; they stand deep in talk, while finches flit and sing. A small grandchild toddles in; a woman in an apron shadows him, or her. The child points to the finches, makes sounds expressive of pleasure, flaps its arms. It eyes Stephen Gardiner; its small mouth turns down. The nurse swoops in, before tears ensue; how must it be, he asks Stephen, to have such effortless power over the young? Stephen scowls.
More takes him by the arm. ‘Now, about the colleges,’ he says. ‘I have spoken to the king, and Master Secretary here has done his best – truly, he has. The king may refound Cardinal College in his name, but for Ipswich I see no hope, after all it is only … I am sorry to say this, Thomas, but it is only the birthplace of a man now disgraced, and so has no special claim on us.’
‘It is a shame for the scholars.’
‘It is, of course. Shall we go in to supper?’
In More's great hall, the conversation is exclusively in Latin, though More's wife Alice is their hostess and does not have a word of it. It is their custom to read a passage of scripture, by way of a grace. ‘It is Meg's turn tonight,’ More says.
He is keen to show off his darling. She takes the book, kissing it; over the interruptions of the fool, she reads in Greek. Gardiner sits with his eyes shut tight; he looks, not holy, but exasperated. He watches Margaret. She is perhaps twenty-five. She has a sleek, darting head, like the head of the little fox which More says he has tamed; all the same, he keeps it in a cage for safety.
The servants come in. It is Alice's eye they catch as they place the dishes; here, madam, and here? The family in the picture don't need servants, of course; they exist just by themselves, floating against the wall. ‘Eat, eat,’ says More. ‘All except Alice, who will burst out of her corset.’
At her name she turns her head. ‘That expression of painful surprise is not native to her,’ More says. ‘It is produced by scraping back her hair and driving in great ivory pins, to the peril of her skull. She believes her forehead is too low. It is, of course. Alice, Alice,’ he says, ‘remind me why I married you.’
‘To keep house, Father,’ Meg says in a low voice.
‘Yes, yes,’ More says. ‘A glance at Alice frees me from stain of concupiscence.’
He is conscious of an oddity, as if time has performed some loop or snared itself in a noose; he has seen them on the wall as Hans froze them, and here they enact themselves, wearing their various expression of aloofness or amusement, benignity and grace: a happy family. He prefers their host as Hans painted him; the Thomas More on the wall, you can see that he's thinking, but not what he's thinking, and that's the way it should be. The painter has grouped them so skilfully that there's no space between the figures for anyone new. The outsider can only soak himself into the scene, as an unintended blot or stain; certainly, he thinks, Gardiner is a blot or stain. The Secretary waves his black sleeves; he argues vigorously with their host. What does St Paul mean when he says Jesus was made a little lower than the angels? Do Hollanders ever make jokes? What is the proper coat of arms of the Duke of Norfolk's heir? Is that thunder in the distance, or will this heat keep up? Just as in the painting, Alice has a little monkey on a gilt chain. In the painting it plays about her skirts. In life, it sits in her lap and clings to her like a child. Sometimes she lowers her head and talks to it, so that no one else can hear.
More takes no wine, though he serves it to his guests. There are several dishes, which all taste the same – flesh of some sort, with a gritty sauce like Thames mud – and then junkets, and a cheese which he says one of his daughters has made – one of his daughters, wards, step-daughters, one of the women of whom the house is full. ‘Because one must keep them employed,’ he says. ‘They cannot always be at their books, and young women are prone to mischief and idleness.’
‘For sure,’ he mutters.