The King evidently did not "go see him," for under date March 1 we read: "I caused Mr. Gibbon to bring to Whitehall his excellent piece of carving, where being come, I advertised his Majesty.... No sooner was he entered and cast his eye on the work, but he was astonished at the curiosity of it, and having considered it a long time and discoursed with Mr. Gibbon whom I brought to kiss his hand, he commanded it should be immediately carried to the Queen's side to show her. It was carried up into her bedchamber, where she and the King looked on and admired it again; the King being called away, left us with the Queen, believing she would have bought it, it being a crucifix; but when his Majesty was gone, a French peddling woman, one Madame de Boord, who used to bring petticoats and fans and baubles, out of France to the ladies, began to find fault with several things in the work, which she understood no more than an ass, or a monkey, so as in a kind of indignation, I caused the person who brought it to carry it back to the Chamber, finding the Queen so much governed by an ignorant French woman, and this incomparable artist had his labour only for his pains, which not a little displeased me; he not long after sold it for £80, though well worth £100, without the frame, to Sir George Viner. His Majesty's Surveyor, Mr. Wren, faithfully promised to employ him. I having also bespoke his Majesty for his work at Windsor, which my friend Mr. May, the architect there, was going to alter and repair universally." Grinling Gibbon was born in 1648, and so the "incomparable young man" would have been about twenty-three years of age when he sailed into Royal favour. We do not know the whereabouts of the carved cartoon after Tintoretto; but we shall find at the Victoria and Albert Museum a carving by Gibbon, measuring 6 ft. in height by 4 ft. 4 in. in width, of the "Stoning of St. Stephen." It is executed in limewood and lance-wood. Walpole, in his "Catalogue of Painters," writes of the "Stoning of St. Stephen," which was purchased and placed by the Duke of Chandos at Canons,[2] as the carving which had "struck so good a judge" as Evelyn. It is palpably not identical with the Tintoret subject which Evelyn describes as "being a crucifix." Fig. 10 in Chapter III. is a remarkable example of Gibbon's carving of fruits, flowers, and foliage.