The museum documentation is provided with each piece, unless otherwise specified all quotes are taken directly from the museum placard. Please check back regularly for updates. It should be noted that these pieces are not well labeled, it is often difficult to ascertain which placard goes with each piece. Therefore you will find my assumptions, which may change.
As long as I am living near London, I will continue to study these and other pieces. I will post updates as possible. Photographs to follow soon.
Chain, Stem & Split Stitch Embroidery Item # T118-1922 From Bahanasa, Middle Egypt.

The blue piece is woven sideways, whereas the pink piece is along the warp. A piece woven sideways has a warp that runs parallel to the design. When a tapestry is woven along the warp, the warp perpendicular to the design, as  is normal This shows that both methods were used in the 5th Century.

This mostly blue band must be the North Persian band. It incorporates a floral motif along with what appears to be a human face figure.

"Part of Cuff  (Pink Band Above)
1. Linen and wool tapestry woven on two linen warps in linen cloth with se?? bands. Warp: \ and / tan linen
Wefts: \ and/ tan linen; tapestry:/ / tan linen; \ wool red, yellow , blue, green.
Probably Mesopotamian; 5th Century.
2. Applied to the cloth: linen and wool tapestry woven on plied linen warps. Warp: \/ undyed linen. Weft: \ undyed linen; \ wool: dark blue, blue, green, tan, oragne, red yellow.
Probably North Persian; 5th century. from the same tunic as 297 & 298-1897.
From Akhim Upper Egypt 296-1887

Museum redux "Shoulder band & Part of Neck Border.
1. Linen & wool tapestry woven with sumac outlines on 2 linen warps in linen cloth with self & fancy inlay bands Warp:\undyed linen.
weft: \ undyed linen; \ wool, red & undyed, dark blue & green. Egyptian or Mesopatamians (Under Persian Influence.)
2. Silk Tissue, 1/2 twill, applied. Warp: \/ undyed silk. weft: silk: dark blue , rose, blue-green. Probably Persian (Sassasnian) 4th or 5th C. From Akhim, Upper Egypt. 1321-1888"
1/2 twill the weft goes under 1 warp and over 2 warps so you want to lift every 3rd warp. 8 shafts straight threaded you lift 1, 4, 7 then 2, 5, 8 then 3, 6, 1 then 2, 4, 7 then continue this pattern
This piece is woven along the warp, meaning that the warp runs vertically up and down the piece.

F397thor8thCPersianCuffs58.gif This sleeve is apparently sewn together at the straight seam. than the angled cut is hemed. This sleeve is apparently held together with a button that goes in a loop made of a 2-ply heavy linen thread.

Close up of the tapestry woven band applied to a sleeve cuff. The intricate pattern includes animals, a human head, and a floral motif.
This piece of weaving is done going up the warp, i.e. the warp threads run perpendicular to the design rather than parallel. The blue piece (above) are woven with the warp running parallel to the design. This indicates that both methods were used in Sasanid Persia, just as they are both used in modern tapestry weaving. Weaving a tapestry on it's side, such as indicated in the piece to the right, provides smoother horizontal lines, curves, and angles (Harvey, 1991). When you begin weaving a tapestry, you should place the design on the warps in such a way that the majority of curve, line and angles are running perpendicular to the warp threads. If you notice this cuff design follows this principle.

Careful study of the cuff clearly shows that the angled portion of the sleeve is indeed whip stitched, rather than showing signs of having been sewn together. These threads appear to match the threads that attach the tapestry band to the cuff, therefore I believe that these stitches were done at the same time as the band, rather than at the time of conservation. It should also be noted that all conservation has been done using pins, not modern threads. It is also clear that the angled cut was not sewn shut, as the cuff is held closed with a cloth button that is put through a two plied linen loop sewn on the the opposite side.
"Linen and wool tapestry woven with sumac outlines on one plied linen warp.
Warp:\/ tan linen. wefts:\ undyed linen; \ red wool 252 1887
Egyptian or Persian; 7th or 8th Century."

This band is made of various geometric patterns arranged in distinct rows. The top row is a flowing floral motif. Note the vine motif at the top. Just below this in the upper left hand corner a vine that ends with the top half of the fleur-de-lis. This is the basis for my heraldic decoration.
When recreating it would be best to work no more than two lines at a time. Note the soumak like separating the border and used as the outlining method. You must carefully plan the weaving, so you can fill in then outline. Graph out design first. All cuff designs are woven such that the length of the trim is the width of the loom.

Notes for further research. Take copy of notes to double check facts
Take Color chart to compare Paterna threads to extant pieces.
Choose design pieces and design project.
Harvey, N. (1991). Tapestry Weaving: A Comprehensive Study Guide. Interweave Press. Loveland, CO.