Edward III had taken to the nobility. Edward's court had been a martial one, based on the interdependence between the king and his most trusted noblemen as military captains. In Richard's view, this put a dangerous amount of power in the hands of the baronage. To avoid dependence on the nobility for military recruitment, he pursued a policy of peace towards France. At the same time, he developed his own private military retinue, larger than that of any English king before him, and gave them livery badges with his White Hart. He was then free to develop a courtly atmosphere in which the king was a distant, venerated figure, and art and culture, rather than warfare, were at the centre. Patronage and the arts As part of Richard's programme of asserting his authority, he also tried to cultivate the royal image. Unlike any other English king before him, he had himself portrayed in panel paintings of elevated majesty, of which two survive: an over life-size Westminster Abbey portrait (c. 1390), and the Wilton Diptych (1394–1399), a portable work probably intended to accompany Richard on his Irish campaign. It is one of the few surviving English examples of the courtly International Gothic style of painting that was developed in the courts of the Continent, especially Prague and Paris. Richard's expenditure on jewellery, rich textiles and metalwork was far higher than on paintings, but as with his illuminated manuscripts, there are hardly any surviving works that can be connected with him, except for a crown, "one of the finest achievements of the Gothic goldsmith", that probably belonged to his wife Anne. Among Richard's grandest projects in the field of architecture was Westminster Hall, which was extensively rebuilt during his reign, perhaps spurred on by the completion in 1391 of John of Gaunt's magnificent hall at Kenilworth Castle. Fifteen life-size statues of kings were placed in niches on the walls, and the hammer-beam roof by the royal carpenter Hugh Herland, "the greatest creation of medieval timber architecture", allowed the original three Romanesque aisles to be replaced with a single huge open space, with a dais at the end for Richard to sit in solitary state. The rebuilding had been begun by Henry III in 1245, but had by Richard's time been dormant for over a century. The court's patronage of literature is especially important, because this was the period in which the English