for a fine day to spread it on our lawn, so that I might see it all at once: at present I have only been able to see it piecemeal. So seen, it looks very well, I think, and seems to be satisfactory as to manufacture. What are your orders about it? as I shall have to send some one down to Naworth to get it into its place: it weighs about a ton I fancy."
The manufacture of Arras tapestry, on which Morris had been experimenting at Hammersmith throughout the year, was only fairly begun after the works were removed to Merton. The first piece made there was a frieze of greenery with birds, which, like the carpet of the previous year, went to Naworth. In reviving this noble art he had nothing in England to guide him, as to the mechanical part of the work, beyond drawings of looms in old books. To see what the mechanism was really like, he had to pay a visit to the Gobelins, where he found the ancient loom still in use, though sunk to the servile task of making copies of oil paintings. The low-warp loom, which had replaced it elsewhere, he at once dismissed as useless for his purpose. In it the task of the weaver is confined to copying the imperfectly seen cartoon stretched under the warp, at which he peers between the threads. The work is almost purely mechanical; the face of the tapestry being below, and the weaving done from the back, the workman has no means of knowing what effect he is producing, and can only trust to a rigid method. The making of tapestry on the high-warp loom approximates in method to the painting of a picture; the artificer produces his form and colour, stitch by stitch, by the exercise of his own intelligence, and sees, in his little swinging mirror, the actual surface forming itself insensibly under his hand, as if it were a picture on the easel.
