In the fourteenth century a fashion grew up here in England of figuring symbolism--heraldic and religious--upon the articles of dress, as we gather from specimens here, as well as from other sources. The ostrich feather, first assumed by our Black Prince, was a favourite device with his son Richard II. for his flags and personal garments. This is well shown in the illumination given, p. 31, of the “Deposition of Richard II.,” published by the Antiquarian Society. That king’s mother had bequeathed to him a new bed of red velvet, embroidered with ostrich feathers of silver, and heads of leopards of gold, with boughs and leaves issuing out of their mouths.[431] Through family feeling, not merely the white swan, but this cognizance of the Yorkists--the ostrich feather--was sometimes figured on orphreys for church copes and chasubles, since in the Exeter, A.D. 1506, we find mentioned a cope, “le orfrey de rubeo damasco operato de opere acuali cum rosis aureis ac ostryge fethers insertis in rosis,” &c.;[432] and again, “le orfrey de blodio serico operata de opere acuali cum cignis albis et ostryge fethers--i casula de blodio serico operata opere acuali cum ostryge fethers sericis, le orfrey de rubeo serico operato cum ostryge fethers aureis.”[433] Lincoln Cathedral, too, had a cope of red damask, with ostriges feathers of silver.[434] This somewhat odd element of design for a textile is to be found on one here, No. 7058, p. 129. [431] Testamenta Vetusta, i. 14. [432] Ed. Oliver, p. 347. [433] Ibid. p. 365. [434] Mon. Anglic. t. viii. p. 1282, ed. Caley.