Those of the magnificent cathedral church at Rheims, consisting of forty tapestries, forming different collections, but all on religious subjects, will probably form the material for future numbers. * * * * * That there are ancient tapestries existing in England fully equal to those in France is, we think, almost certain; but of course they are not to be summoned from the "vasty deep" of neglect and oblivion by the powerless voice of an obscure individual. Gladly would we, had it been in our power, have enriched our sketch by references to some of them. The following notice of a tapestry at Coventry is drawn from "Smith's Selections of the ancient Costume of Britain;" and the names of the tapestries at Hampton Court Palace from "Pyne's Royal Residences." We have recently visited Hampton Court for the express purpose of viewing the tapestries. There, we believe, they were, entirely (with the exception of a stray inch or two here and there) hung over with paintings. The splendid though neglected tapestry of St. Mary's Hall at Coventry offers a variety of materials no less interesting on account of the sanctity and misfortunes of the prince (Henry VI.) who is there represented, than curious as specimens of the arts of drawing, dyeing, and embroidery of the time in which it was executed. It is thirty feet in length and ten in height; and is divided into six compartments, three in the upper tier and three in the lower, containing in all upwards of eighty figures or heads. The centre compartment of the upper row, in its perfect and original state, represented the usual personification of the Trinity--(the Trinity Guild held its meetings in the hall of St. Mary) surrounded by angels bearing the various instruments of the Passion. But the zeal of our early reformers sacrificed this part of the work, and substituted in its stead a tasteless figure of Justice, which now holds the scales amidst the original group of surrounding angels. The right hand division of this tier is occupied with sundry figures of saints and martyrs, and the opposite side is filled with a group of female saints. In the centre compartment below is represented the Virgin Mary in the clouds, standing on the crescent, surrounded by the twelve Apostles and many cherubs. But the two remaining portions of this fine tapestry constitute its chief value and importance to the city of Coventry, as they represent the figures of Henry VI., his Queen, the ambitious, and crafty, and cruel, yet beautiful and eloquent and injured Margaret of Anjou, and many of their attendants. During all the misfortunes of Henry, the citizens of Coventry zealously supported him; and their city is styled by historians "Queen Margaret's secret bower." As the tapestry was purposely made for the hall, and probably placed there during the lives of the sovereigns, the figures may be considered as authentic portraits. * * * * *