manor of Oatlands at Weybridge, Surrey, which he later incorporated into the Honour of Hampton 
Court.
18
 During the next eight years, the King was to spend £16,500 (nearly £5 million) on constructing 
a large palace around the core of the old moated house; it was built of brick and stone around three 
courts, one of them irregularly shaped with an octagonal tower, and the royal lodgings were gabled 
rather than crenellated. Outside there were terraced gardens with fountains, a pleasance, and a deer 
park. The fruit trees for the orchards, like the stone of the fabric, came from nearby Chertsey Abbey.
19 
The royal lodgings were hung with fine French tapestries, the floors laid with Turkey carpets, and the 
furniture upholstered in velvet and cloth of gold. Oatlands, which covered ten acres, was designated a 
greater house, and Henry regularly used it as a hunting lodge.
20
In 1537, to mark the renewal of his hopes for an heir, the King commissioned Holbein to paint a vast 
mural of the Tudor dynasty in the privy chamber at Whitehall Palace. This magnificent work—which 
measured perhaps twelve feet by nine feet—depicted the full-length, almost life-size figures of Henry 
VII and Elizabeth of York standing on marble steps draped with a Turkey carpet behind Henry VIII and 
Jane Seymour, in a splendid antique setting with a classical roundel, grotesque pillars and friezes, 
trompe l’oeil decoration, and shell-shaped niches, which perhaps reflected the architecture and décor of 
the privy chamber. The painting, which was by then deteriorating, was lost when the palace was 
destroyed by fire in 1698, but is known through two small copies commissioned by Charles II in 1667 
from a mediocre Dutch artist, Remigius van Leemput.
21
 Holbein’s full-size cartoon of the two Kings 
survives,
22
 however, although it shows Henry VIII facing sideways rather than forwards, as in the 
finished mural. The dominating figure of the King was so realistic and majestic that visitors 
approaching the throne below the mural claimed they felt “abashed and annihilitated”
 23
 by its power. 
This was the definitive image of Henry VIII—feet firmly apart, hands on hips, gazing with steely 
authority at the viewer—from which many subsequent portraits derived, and was in fact the first 
English state portrait, launching a royal tradition that continues to this day. The deliberate 
dissemination of this image may well have been government policy, but the evidence suggests that after 
the Reformation there was a popular demand for portraits of the King.
At Hampton Court, work was continuing on the royal apartments. The so-called Wolsey Closet, 
reconstructed in Victorian times from surviving fragments of Tudor interiors, gives some idea of the 
décor in the privy lodgings, with a plain stone fireplace; oak linenfold panelling; a carved Renaissance 
frieze bearing mermaids, dolphins, urns, and Wolsey’s motto; painted panels depicting Christ’s Passion; 
and a chequered gilded ceiling studded with Tudor roses, sunbursts, and Prince of Wales feathers, 
which must date from after 1537.
The Queen’s pregnancy progressed well. Late in May she appeared at Hampton Court in an open-laced 
gown, and on Trinity Sunday Te Deum was sung in St. Paul’s and other churches throughout the realm 
“for joy of the Queen’s quickening of child.”
24
 But in June, there occurred another, more virulent 
outbreak of plague, which drove the court to Windsor and a fearful Jane to an over-rigorous observance 
of holy days and fast days, much to everyone’s concern. Lord Hussey wrote to Lady Lisle, “Your 
Ladyship could not believe how much the Queen is afraid of the sickness.”
 25
 In London, the pestilence 
was killing off a hundred victims every week, and the King forbade anyone from the City to approach 
the court. He cancelled his plans for a large-scale hunting progress, concerned that the Queen, “being 
but a woman, upon some sudden and displeasant rumours that might by foolish or light persons be 
blown abroad in our absence, being so far from her, might take to her stomach such impressions as 
might engender no little danger or displeasure to the infant.”
26
 Instead, he confined himself to short 
hunting trips, staying at houses within a sixty-mile radius of his wife. His companions found him in 
good spirits, behaving “more like a good fellow than a king.”
27
Meanwhile, Surrey was diverting the waiting court with his escapades. According to the late-sixteenth-