narrow seas. I suspect you scarcely understand what a difficult matter it is to translate a painter's design into material: I have been at it sixteen years now, and have never quite succeeded.
"In spite of all these difficulties, if in any way I can help you, I will: only you must understand fully that I intend setting up a frame and working at it myself, and I should bargain for my being taught by you what is teachable: also I see no difficulty in your doing greeneries and what patterns turned out desirable, and I would make myself responsible for the designs of such matters. With all this, I have no doubt that we shall both lose money over the work: you don't know how precious little people care for such things.
"To recapitulate: Tapestry at its highest is the painting of pictures with coloured wools on a warp: nobody but an artist can paint pictures; but a sort of half-pictures, i.e., scroll-work or leafage, could be done by most intelligent people (young girls would do) under direction.
"I am sorry if in any way I appear to have wet-blanketed you: but the matter is such an important one that it is no use avoiding the facing of the truth in all ways, and I have accordingly given you my mind without concealment."
He began to make designs for greeneries forthwith, and studied pieces of old tapestry with minute care. In March, 1878, he writes again to Wardle:
"I inclose a warp from a sixteenth-century piece of tapestry, which as you see is worsted: the pitch is 12 to the inch: nothing in tapestry need be finer than this. In setting up your work you must remember that as tapestry hangs on the wall the warps are horizontal, though of course you weave with them
