| P3 has note
| - Semi-circular garment made up of widths of deep red silk velvet seamed together; a contrasting embroidered orphrey band is stitched along the opening, and a non-functional embroidered hood is attached centre-back at the neck. The velvet is of the type usually described as <i>ferronerie</i>, because the pomegranate pattern is delineated by a fine outline thought to imitate ironwork. Four full widths of velvet and two three-quarter widths make up the garment, the two central widths are intact, the other panels reveal how carefully this costly textile was used as the outer edges that form the circle have been pieced together from a number of small pieces. A deep fringe is attached round the semi-circular side - probably a later addition although such fringes were used in the Middle Ages. The whole of the cope is lined with deep blue linen (in excellent condition) - also pieced together.
<i>The orphrey bands</i> are embroidered with images of saints (see below), in coloured silks (blue, green, red and brown) and gold thread (Cologne work); there is evidence that originally sequins were sewn on to the blue background embroidery: a few sequins have survived on images of St Lucy and St Severinus, and the reddish thread that attached them to these and other parts of the embroidery is visible against the blue in all cases. The faces of the saints are stitched in white, but the features seem to have been drawn on below the surface (possibly a similar technique to that used as in Butler Bowdon cope). There is also evidence of restoration work executed in white thread, couched down, especially on the right hand side (when worn). A fine yellow braid/ribbon is sewn over the edges of the ophreys on both sides. It dates to either the late 19th or early 20th century.
<i>The hood</i> is of couched gold thread, with figures representing the Death of the Virgin Mary and is very worn. The draperies were originally of gold threads, whipped round with fine coloured silks; the heads of the various figures are of canvas embroidered with fine silks in long and short stitches. A narrow red and white fringe is sewn around the hood. It is lined with blue linen, a shade lighter than the lining of the rest of the cope.
<i>Iconography</i>. The figures depicted on the orphreys are saints who each inhabit a similar space, placed below a castellated wall, under a decorative Gothic arch, they stand on a tesselated floor; below the floor, in Latin, is the inscription bearing the appropriate name. When the cope was on the clergyman's body, the saints faced each other across the opening: from bottom to top, St John the Baptist faced St Hubert, St Ursula faced St Lucy, St Severinus faced St Bernadino and Saint Elizabeth faced St Mary Magdalene. The textiles worn by the saints (as long flowing robes) echo the pattern found on the velvet of the cope - large, abstract pomegranate designs. Each saint carries the appropriate indicator of status and attribute: the bishops Severinus and Hubert wear mitres and carry croziers, those of royal lineage, Ursula and Elizabeth (of Hungary) wear crowns, the martyrs, Ursula and Lucy carry palm fronds. Mary Magdalen is depicted with long flowing tresses, holding a vase of ointment; Elizabeth holding a garment (no doubt an allusion to those she made for those in need).
The hood shows the death of the Virgin. She lies in a rectilinear bed in a room with a window on the left hand side above the bed. Round the bed are twelve male figures with haloes round their heads. Eleven are bald and bearded, the twelfth is clean-shaven and has a full head of hair. He is holding a jar (?). He and two other saints in the group are behind the bed, looking towards the Virgin; one of them holds a palm branch. To their right is another group whose attention is focussed on an object that looks like an incense burner. In front of the bed side two saints looking at a book, and to their right is another saint with a book who looks as if he is reading to the assembled crowd. Only the faces, hands and hair of the saints is executed in silk (much worn); the rest of the embroidery (draperies, bed, background) is in different metal threads (the Virgin's robes, sheet and pillow, probably in silver-gilt; the saints'/apostles' garments, bed, bedcover, background) in gold. The metal threads are couched down, the background using a red silk, and creating a geometric diaper pattern. The ground is badly worn, so much of the brownish linen base textile is visible. The haloes are worked in a succession of curving rays, which shows up the gold to great advantage. A shield has been applied centre bottom of the hood; it is divided in half, the left blue with two silver cylinders, the right red with a gold band at the top and two gold chevrons over the red. Round the edge of the hood is a half-inch band of brick stitch embroidery in metal thread, and attached round the outer edge of that band is a narrow braid in red and white (half-inch), ending in a fringe. (en)
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