In building his palace, Wolsey was attempting to create a Renaissance cardinal's palace of a rectilinear symmetrical plan with grand apartments on a raised piano nobile, all rendered with classical detailing. The historian Jonathan Foyle has suggested that it is likely that Wolsey had been inspired by Paolo Cortese's "De Cardinalatu", a manual for cardinals that included advice on palatial architecture, published in 1510. The architectural historian Sir John Summerson asserts that the palace shows "the essence of Wolsey—the plain English churchman who nevertheless made his sovereign the arbiter of Europe and who built and furnished Hampton Court to show foreign embassies that Henry VIII's chief minister knew how to live as graciously as any cardinal in Rome." Whatever the concepts were, the architecture is an excellent and rare example of a thirty-year era when English architecture was in a harmonious transition from domestic Tudor, strongly influenced by perpendicular Gothic, to the Italian Renaissance classical style. Perpendicular Gothic owed nothing historically to the Renaissance style, yet harmonised well with it. This blending of styles was realised by a small group of Italian craftsmen working at the English court in the second and third decades of the sixteenth century. They specialised in the adding of Renaissance ornament to otherwise straightforward Tudor buildings. It was one of these, Giovanni da Maiano, who was responsible for the set of eight relief busts of Roman emperors which were set in the Tudor brickwork.