Of the large work the stately bronze doors of Henry VII’s Chapel in Westminster Abbey are among the most distinguished examples in their perforated design of work whose duty is rather that of a gate than a door. The panels are filled with badges in pierced work, the Beaufort Portcullis, Henry’s favourite badge, the Falcon and Fetterlock of York, the entwined roses of York and Lancaster, and the Royal Monogram, all telling their story in terms of beautiful metal work. Within is the monument with the effigies of the King and Queen recumbent on the tomb, while at the foot amorini support a shield of arms and at the corners are placed angels who once held crowns. Designed by Torregiano and executed by him or under his direction, it is without doubt the most splendid and complete heraldic metal work of its time and style in this country. Over the gates in the grille which surrounds the tomb are the Royal Arms, France and England quarterly with the dragon and greyhound supporters. The latter was the badge of the Nevilles, but the former, the Dragon of Cadwallader, was of especial value in the King’s eyes. It denoted his descent from Llewellyn and King Arthur, and perhaps he liked to feel that his greatness was not wholly dependent upon York and Lancaster. It had been flown, on a flag of the Tudor colours, argent and vert, on the field of Bosworth when the “White Boar” was slain and his crown was plucked from the hawthorn bush into which it had fallen and placed on the head of the victor. As badges, the dragon and the greyhound are repeated on the upper part all round the grill and in its parapet portcullises and roses alternate in the cuspings of the tracery. One of these dragons is shown in Fig. 173. Even the great candle sconces are Tudor roses placed horizontally, which support crowns whose crosses and fleur-de-lis form a decorative rim. As heraldic design the proportion of the parts, the vigour of the animals and the excellence of the spacing (and this may be especially seen in the supporters over the gates) leave nothing to be desired, while the general arrangement of the repeated heraldic motives in a decorative and yet reticent way is as admirable an example as can be found. [Illustration: FIG. 177.--Dragon from the Grills in Henry VII’s Chapel, Westminster Abbey. Sixteenth Century.] [Illustration: FIG. 178.--Memorial Brass to Sir J. de Brewys, Wiston Church, Sussex.]