fine precisely what is meant by the word
"tapestry."[380] The term has been applied to all hangings, and so
caused confusion between those that are embroidered with a design, on
a plain or brocaded woven material, and those which are inwoven with
the design from the first.[381] This latter was called in classical
language, "opus pectineum," because it was woven with the help of a
comb (the "slay"),[382] to push the threads tight between each row of
stitches; and the individual stitches were put in with a sort of a
needle, or by the fingers only, and laid on the warp. It was thus
practised by the Egyptians, by the Persians, Indians, and Peruvians;
and in Egypt was often finished by embroidery. (Pl. 46.) In Egyptian
tombs we have evidence of their tapestry, from the mural paintings
representing men and women weaving pictures in upright looms. The
comb which served to push the threads together after the stitches were
laid in is sometimes found in the weaver's tomb.

We have, in the British Museum, pieces of "opus pectineum" from
Saccarah, in Egypt; and also fragments from a Peruvian tomb, of
barbarous design, but the weaving is equal to the Egyptian; and both
resemble the Gobelins weaving of to-day. Whence came the craft of the
Peruvians?

Tapestry is woven in two ways, by a high or by a low-warp loom
(_haute-lisse_ or _basse-lisse_), vertical or horizontal. The "slay"
is the implement which is peculiar to the craft. I shall not enter
into any description of the mode of working the looms, as this has
been thoroughly well done by masters of the art.[383] But I would call
attention to the Frontispiece, copied from a Greek vase, where
Penelope is portrayed sitting by her _haute-lisse_ frame. I also refer
the reader to the illustration from the Rheims tapestries, in which a
mediaeval artist shows the Blessed Virgin weaving at one that is
horizontal or "basse-lisse." (Pl. 47.)

[Illustration: Pl. 47.
Portion of a Tapestry Hanging. Cathedral. Rheims. The Virgin weaves
and embroiders at a _basse-lisse_ frame.]

For the best information I have been able to obtain regarding tapestry
weaving, I must acknowledge my indebtedness to M. Albert Castel's
"Bibliotheque des Merveilles."[384] He has given great care to the
consideration of this subject, and has collected good evidences to
prove his conclusions, which I willingly accept _en bloc_. Of course
he has chiefly dealt with the French branch of the art, and with th