22.—Detail from Stalls, Henry VII.'s Chapel, Westminster.
23.—The Spring Pew, Lavenham Church, Suffolk.
These examples all tend to show that the old traditions died hard. The new ideas were cautiously accepted, and were utilised to help the existing methods rather than to supplant them. Hitherto it has been fittings, or chantries, or tombs which have furnished examples—comparatively small and isolated pieces of work which naturally lent themselves to experiments. But we find the same general treatment in larger and more important efforts; the native tradition still holds the field, but traces of the new manner are to be found in the spandril of an archway, the termination of a label, or the pendants of a roof. Compare the roof of the hall at Eltham Palace (Fig. [25]) with that of the great hall at Hampton Court (1534-35). The roof at Eltham is still Gothic, without a touch of the Renaissance; the roof at Hampton Court is also still Gothic in conception and construction, but in the most susceptible parts—the pendants, the spandrils, and the corbels—the new influence makes itself felt (Fig. [26]). These pendants are quite in the new style, and yet were carved by an Englishman, named Richard Rydge, of London.[3] The spandrils likewise are filled with Renaissance ornaments carved by Michael Joyner, among which the King's Arms and the "King's beasts" appear, treated in the manner customary in Late Gothic work; the Tudor badges are also carved on the pendants and corbels, amid the cherubs and balusters and foliage which go to compose the Italian ornament (Fig. [27]).
[3]History of Hampton Court Palace, by Ernest Law, Vol. I.
24.—Detail from the Spring Pew, Lavenham Church, Suffolk.
Plate VIII.
