So that the Christchurch work stands very high on the list and deserves much more attention than it has received. The general outline of the stalls themselves is Gothic, the chief divergency being in the supports of the elbow rests and seats. Among the shafts are examples of the honeycomb form which is almost the only bit of Renaissance detail in the canopies of the Westminster stalls. At the back of the stalls are very vigorous carvings of classical dragons, serpents, hounds and human faces (76). To these last fanciful attributions have been made; _e.g._, one has been imagined to represent Catharine of Arragon between Cardinal Wolsey and Cardinal Campeggio (77). These portrait busts have a wide distribution; they occur in wood, stone and terra cotta. Noble examples are those in terra cotta at Hampton Court, which were undoubtedly imported by Cardinal Wolsey direct from Italy.[37] Others no doubt are the work of Italians resident in England in the first half of the sixteenth century, when Italian art and Italian literature were equally the fashion with the cognoscenti led by Henry VIII. and Wolsey; _e.g._, the fine bust of Sir Thomas Lovell by Torrigiano, now in Westminster Abbey.[38] These portrait busts have a wide range--from Essex westward to Somerset, Devon and Cornwall; _e.g._, North Cadbury, Somerset; Lapford, Devon, and Talland, Cornwall; several also occur at Hemingborough, Yorkshire. The probability is that the Italian artists entered the kingdom at Southampton; and that a few found work at Christchurch and in the south-west, but that the main body proceeded eastward to Winchester, Basing, London and Layer Marney; they have left one memorial at Oxford beneath a window at Christ Church.[39] {78} [Illustration: King's College, Cambridge] {79}