The Missaglia suit remained the type with little modification for several years, almost to the close of the Gothic period. The Quatremayne brass in Thame Church, of the year 1460, presents a magnificent example of it with singularly exaggerated elbow-guards. During the next few years the limb-pieces and gorget become more articulated and flexible, and the breast and back plates are formed of as many as three or four overlapping articulated plates, cut chevron-wise, and notched and indented in an interesting manner. The gauntlets and sollerets are also of excellent workmanship. There are a number of peculiarly fine examples in the Museum of Artillery in the Rotunda at Woolwich, from the Isle of Rhodes, which exhibit the graceful outlines and ornament of later fifteenth-century Gothic armour in perfection, and also present early and interesting examples of engraving on armour. Lord Zouche has also some remarkable suits, said to be from the Church of Irene at Constantinople, in his collection at Parham. Sir Noel Paton's fine collection also comprises several Gothic suits, and there are some in the Tower. None, however, are connected historically with English wearers, and the destruction of Gothic armour in this country appears to have been unusually complete. The illustrations from the _Life of the Earl of Warwick_, an English MS. of the second half of the fifteenth century (Figs. 20 and 21); and the scene (Fig. 25) from the late fifteenth-century MS. of Froissart, which belonged to Philip de Commines, both now in the British Museum, give excellent ideas of the armour of this period in actual use, while the brasses supply exact figures of the details. [Illustration: FIG. 21. The Duke of Gloucester and Earls of Warwick and Stafford chase the Duke of Burgundy from the walls of Calais. They wear loose sleeves and skirts of mail, and the round broad-brimmed helmet very fashionable for a time among the higher French nobility. The balls and tufts are probably Venice gold, with which the helmet was perhaps also laced, over some rich material. This and Fig. 20 are from the Beauchamp MS. in the British Museum, an exquisite production by an English hand.] Turning now to head-defences, the great crested helm, still represented as pillowing the head in effigies, had long since been relegated to the joust and tilt, while the bassinet with a visor, already seen in the Transition period, remained the fighting helmet till about the middle of the century. The visor, however, was not unfrequently struck or wrenched off in tourneys, and the neck pierced by the lance. Some hardy warriors, indeed, like Sir John Chandos and the Earl of Warwick, dispensed with it and went into the fray with faces bare, but this was exceptional, and the pig-faced and beaked visored bassinets occur in all delineations of combats of the first half of the century.