A late heaume of this period, dating from _c._ 1410, is that of Sir Edward de Thorpe, which is of sufficient height to rest upon the shoulders (Fig. 234). A panache surmounts the elaborate coronet; the occularium is very high, and could hardly allow of a bascinet being worn underneath. The usual ring for affixing it to the breastplate is shown at the base. [Illustration: FIG. 235.--Sir Miles de Stapleton, 1364. Formerly in Ingham Church, Norfolk.] [Illustration: FIG. 236.--Genouillière, Sir Thomas Cheyne, 1368.] The orle or wreath is of the greatest rarity upon monumental brasses of the Camail and Jupon Period; Sir Reginald de Cobham, 1403, has a small jewelled orle, however, and one of the same character is shown on the brass of a knight of the d’Eresby family, 1410 (see Fig. 222). This piece of ornament originated in the band of cloth, silk, or velvet placed round the bascinet to support, and act as pad to, the heaume, and subsequently, when the latter was discarded, remained to be a foundation for the crest. [Illustration: FIG. 237.--Sir Humphrey Littlebury, Holbeach, Lincs.] The earlier effigies and brasses of this period are in many of their details exemplifications of the studded and splinted style of defence, and are in fact of greater use in that respect than the few contemporary brasses and effigies which remain and are generally used as examples. The lost brass of Sir Miles de Stapleton, 1364 (Fig. 235), once in Ingham Church, Norfolk, is, for instance, an excellent example, probably the best; he has a studded jupon fitting tightly to the figure and escalloped at the hem, with haut-de-chausses or cuissarts of the same material. His genouillières are of single plates with two rows of reinforcing cuir-bouilli tabs depending below, while the jambarts are of metal splints affixed by rivets to the cuir-bouilli beneath. The long pendent tab of the belt should be noticed. The remarkable brass of Sir Ralph de Knevynton, 1370 (see Fig. 204), at Aveley, Essex, may also be quoted as showing the same features respecting the jupon and cuissarts; but the shape and position of the belt, the great length of the misericorde, its quillons, the crude genouillières, the long hauberk pointed in front, the pose and shape of the figure, and the chains depending from the breastplate, make this brass, which is of Flemish workmanship, one of the most singular of its kind. Sir John de Argentine, 1360 (Fig. 218) and Sir John de Paletoot, 1361, have cuissarts of studded material and pendent belts; Sir Thomas Cheyne, 1368, also has studded cuissarts, and jambarts of studded splints similar to those of Sir Miles de Stapleton, but his genouillières are most remarkable and quite unique. They appear to be constructed entirely of cuir-bouilli with pendent tabs of singular form reinforcing the jambarts (Fig. 236). The Cheynes appear to have been a family addicted to peculiarities, as Sir William Cheyne, 1375, has laminated