direct work is as good as,
and sometimes better than, that with finely gradated colour, shading,
and form. On the other hand, work, small in scale, even though simply
treated, does not look well when carried out with very coarse materials,
for they seem out of proportion to the size of it.

The main difficulty in the technique of the work lies in the attainment
of good draughtsmanship, which of course includes light and shade as
well as outline. It is naturally more difficult to draw by means of
bobbin and thread, in horizontal lines, than to work unrestrictedly with
a pencil, or even with an embroidery needle.

There is a great deal in the preparation of the design; as in all other
crafts this must be suited to the method of work; otherwise the
difficulties of execution will be greatly increased and the result will
be less satisfactory. This is even more important in weaving than in
embroidery, for in the latter the stitch and method may possibly be
chosen to suit the design, but in weaving no variation of stitch is
possible; all must be carried out in the same way.

Tapestry weaving, whether for wall hangings or for small objects, has
the same technical difficulties, and certain restrictions govern all
work of the kind. One point to be observed is, the main lines of the
design should go as little as possible in the same direction as the warp
threads. This is because with each change of colour in the weft that
occurs in the direction of the warp, there comes an inevitable
separation in the woven material, which, oft repeated, would materially
impair the strength of the fabric. The less frequently this occurs, of
course, the better, since it entails additional labour, either a
joining-together stitch at the time of working or an after-sewing up
from the back. Long lines made by change of colour going straight or at
a slight angle across the warp-threads, are perfectly simple to manage,
and the hatching lines of shading, as well as the outline, should be
taken as much as possible in this direction.

It will be noticed that most tapestries have the ribbed lines of warp
going horizontally across; in the loom these lines are perpendicular, so
this means that the design has been placed and carried out sideways upon
it. This is for the reason just under discussion, for the long lines of
a design are most frequently perpendicular, take, for instance, lines of
figures, draperies, or architecture, and so by placing the desig