Once more rumour was busy with Christina's name. The Marquis Albert proclaimed himself her devoted servant, and her marriage with the young King Sigismund of Poland was seriously discussed at Augsburg. This monarch's wife, the Archduchess Elizabeth, had died before his accession, and his sister, the Electress Hedwig of Brandenburg, was eager to bring about a union between him and the Duchess of Lorraine;[404] but, as usual, these rumours ended in smoke, and the only marriage announced at Augsburg was that of the Archduke Max and his cousin the Infanta Maria of Spain, an alliance which had long been privately arranged. [Sidenote: JUNE, 1548] THE INTERIM] Early in the New Year another distinguished person arrived at Augsburg, in the person of the great Venetian master, Titian. He came in obedience to an urgent summons from the Emperor, and during the next few months painted a magnificent series of portraits, including those of Charles and Ferdinand, the captive Elector of Saxony, Chancellor Granvelle, his wife, and his son, the Bishop of Arras, who was a great admirer of Titian's art. Fourteen years before, this same master had taken Christina's portrait, when she came to Milan as the youthful bride of Francesco Sforza; now he saw her again in the flower of her womanhood, and, had opportunity offered, would doubtless have painted her again. But disquieting rumours of unrest on the frontiers of Lorraine reached Augsburg, and on the 16th of February the Duchess set out on her return to Nancy. The Emperor gave his niece a costly ring as a parting present, and Archduke Max, the Marquis Albert, the Prince of Piedmont, together with the Countess Palatine and the Princess of Orange, escorted her some leagues on her way. When, a month later, the Queen of Hungary left Augsburg, she paid Christina a visit at Nancy, bringing with her Anne of Lorraine and William, the young Prince of Orange, a promising boy of fifteen, who was being educated at Court, and met with a kindly welcome from the Duchess and her subjects for the sake of the lamented Prince whose name he bore.[405] By Mary's advice, the Regents took active measures for the defence of the frontier and the fortification of Nancy. An arsenal was founded, and two bastions, which became known as those of Denmark and Vaudemont, were built near the palace. Other improvements were carried out at the same time: the marshy ground under the walls was thoroughly drained, and converted into a spacious square called La Place de la Carrière; many of the streets were paved and widened; and the Count of Salm, Bassompierre, and several of the nobles, built fine new houses along the Grande Rue, opposite the Galerie des Cerfs.[406] [Illustration: _Photo Hanfstaengl_ CHARLES V. (1548) By Titian (Munich) _To face p. 322_]