The tuilles lying upon this skirt were generally of large proportions and suspended from the bottom tace; they did not reach, however, so low as the hem of the skirt. Wm. Bardwell’s brass exhibits no tuilles whatever over the skirt of mail, and Richard Gyll, 1511, sergeant of the bakehouse under Henry VII., shows upon his brass in Shottisbrooke Church, Hants, two almost ludicrously small tuilles, affixed to the lowest of four narrow taces. John Colt, 1521, of Roy don Church, Essex, has extremely small tuilles over his deep skirt of mail similar to the Gyll brass; he is habited in a tabard. From the foregoing it will readily be gleaned that very important alterations occurred in armour of this period, differentiating it from that of the preceding. The great pauldrons, exaggerated coudières, and general angularity, and, one might almost say prickliness, of the later Tabard Period was modified to a smoother and rounder style, while it lost entirely that remarkable beauty of form which, however much distorted by fanciful additions, characterised the Gothic armour as a whole. The beautiful flutings and ornamental curves disappeared to make way for a heavy, cumbersome style indicative of German stolidity, and in direct antagonism to the mobile quickness and agility suggested by the majority of suits dating from the latter half of the previous century. These characteristics may be readily seen in the brass to Sir Humphrey Stanley in Westminster Abbey, Fig. 352; and also that to a knight, _c._ 1510, shown in Fig. 353. [Illustration: FIG. 352.--Sir Humphrey Stanley, 1505. Westminster Abbey.] [Illustration: FIG. 353.--Knight, _c._ 1510.] That this excessive plainness was not always carried out, however, may be gleaned from a few effigies which display an almost lavish ornamentation. The genouillière of Sir Roger le Strange, 1506, Hunstanton, is given here (Fig. 354) as an example, where the spike and fluted reinforcements are a special feature, and also the right genouillière of Sir John Cheney, 1509, in Salisbury Cathedral, where the cusped reinforcements are noteworthy (Fig. 355). [Illustration: FIG. 354.--Genouillière and reinforcements, Sir Roger le Strange, 1506, Hunstanton.] [Illustration: FIG. 355.--Genouillière, Sir John Cheney, _c._ 1509. Salisbury Cathedral.] Towards the end of the period, however, we find that although the salient points of this Transition Period in armour were retained, the taste for ornamentation led many knights to discard the extreme plainness of the mode, and to adapt a style of decoration which in many cases approached the graceful. Effigies of the years 1515 to 1520 show flutings upon the breastplate, taces, and tuilles; rosettes or other ornaments upon the splays of the genouillières and coudières, with fluted pauldrons of artistic shape spreading over the backplate and breastplate.