r angels, not upon wheels, no doubt
belong to the second hierarchy; while those that have but one pair of
wings (not three) represent the lowest hierarchy. "All, like our Lord,
are barefoot. All of them have their hands lifted in prayer.... For
every lover of English heraldry this cope, so plentifully blazoned
with armorial bearings, will have a special value, equal to that
belonging to many an ancient roll of arms." The orphrey, morse and hem
contain the arms of Warwick, Castile and Leon, Ferrars, Geneville
Everard, the badge of the Knights Templars, Clifford, Spencer, Lemisi
or Lindsey, Le Botiler, Sheldon, Monteney of Essex, Champernoun,
England, Tyddeswall, Grandeson, FitzAlan, Hampden, Percy, Chambowe,
Ribbesford, Bygod, Roger de Mortimer, Golbare or Grove, De
Bassingburn, with many others not recognized, and frequent
repetitions.... "Besides their heraldry, squares at each corner are
wrought with swans and peacocks of curious interest for every lover of
mediaeval symbolism...." These coats of arms, being mostly blazoned on
lozenge-shaped shields, suggest that possibly they record those of the
noble ladies who worked the border; while those on circles may be the
arms of religious houses or donors.

"A word or two upon the needlework; how it was done; and the now
unused mechanical appliance to it after it was wrought, so observable
on this vestment, lending its figures more effect."

"We find that for the human face, all over this cope, the first
stitches were begun in the centre of the cheek, and worked in circular
lines, into which, after the first start, they fell, and were so
carried on through the rest of the flesh tints.

"Then with a little iron rod, ending in a small bulb slightly heated,
were pressed down those parts of the faces worked in circles, as well
as the wide dimple in the throat. By the hollows thus sunk a play of
light and shadow is brought out that lends to the parts so treated a
look of being done in low relief. Upon the lightly clothed figure of
our Lord the same process is followed, and shows a noteworthy example
of the mediaeval knowledge of external anatomy.

"We must not, however, hide from ourselves that the unequal surfaces,
given by such a use of the hot iron to parts of the work, expose it to
the danger of being worn by friction more than other parts, and soon
betray the damage by their threadbare, dingy look, as is the case in
the example just cited. The method for grounding the q