admitted this, and declared unasked that he desired nothing better than
to offer his Majesty, with the Benedictio, the first greeting of
Netherland music.

Gombert's bearing was that of an aristocrat, his lofty brow that of a
thinker, and his mobile mouth rendered it easy to perceive what a wealth
of joyous mirth dwelt within the soul of this artist, who was equally
distinguished in grave and gay moods.

Queen Mary was by no means blind to these merits, and lamented the
impossibility of being on more familiar terms of intercourse with him and
his colleague of the boy choir. But both were of humble birth, and from
childhood custom had prohibited her, as well as the other female members
of her family, from associating with persons who did not belong to the
nobility. So there was no place for either in her household.

Rough Appenzelder regarded this as fortunate; Gombert thought it a matter
of course because custom so ordained.

The stimulus which the Queen could expect from Wolf Hartschwert was
certainly far less deep and varied; yet to him who, as a knight, belonged
to her train, she granted many favours which she denied the famous
Gombert. Besides, Wolf's musical knowledge was as remarkable as his
usefulness as a secretary. Lastly, his equable disposition, his unerring
sense of propriety, and his well-proved fidelity had gained the full
confidence of the royal lady.

By the side of the two composers and leaders of the musicians he looked
almost boyish, yet, as the regent was overburdened with affairs of state,
she confided to him alone the care of the further success of the