n
sideways in the loom, most of the important lines will come in the
direction most easy for the working of them.

With small pieces it frequently does not matter which way it is carried
out, but it is useful to know when making the design that there is the
alternative of placing it either way upon the warp-threads. If this
matter were not considered and arranged, there might come a good deal of
twisting round one or two warp-threads which would be most
unsatisfactory in working and in appearance. A band of plain colour
framing a square piece of work will be found to be completely detached
from the centre part upon each side of the square, although working in
very straightforwardly at the top and base; if, instead of being a
straight band, the inner edge was vandyked, the work would be well
knitted together upon all sides (see fig. 169). In such ways as this the
technical pitfalls can be somewhat avoided by a designer who understands
the method of the work.

[Illustration: Fig. 169.]

To lay down definite rules for designing is practically impossible;
right and wrong depend upon so many circumstances. The study of fine
tapestries of the best periods is one of the most satisfactory ways of
learning what one may or may not attempt; the beautifully flowered
grounds in many of these show what excellent motives flowers make, and
how they should be treated. It is not usually a good plan to introduce
in any part of the work much plain ground, for it is inclined to look
poor; this is very likely the reason why the grass in tapestry-land is
often covered with such profusion of flowers. Tapestry calls for
beautiful colour, richness, and plenty of interesting detail; it is
essentially decorative work, and must be treated as such. The
arrangement of colours and tones need to be sharply defined; if by
chance a dark leaf comes against another dark one, a line of light
colour is sometimes deliberately run between, perhaps shading or
outlining one of the forms; a flower may even change its colour as it
passes over different backgrounds; what is more remarkable is that this
change, unless sought for, is imperceptible.

The work may be applied to all kinds of uses, such as coverings for
furniture, mats, curtains, bell-pulls, book-covers, bags, boxes, and so
forth. Anything that hangs upon a wall is particularly suitable for
working in tapestry, for at a little distance this kind of work shows up
more effectively than embroidered wor