manner in which they ornamented some baronial hall in ancient times. But even the most durable fabric has its weaknesses, and a tapestry will collect dust in the folds and will soon show signs of wear in those spots where the dust has lain. It is therefore now no longer considered good museum practice to hang a tapestry from a rod or from hooks,—it must be put on a stretcher, as is done with a painting, so that there shall not be an unequal pull on the threads and if, as often happens, the tapestry is not quite square, then the framework must be made to fit exactly, so that there may be no strain in any point, although sometimes the tapestry itself can be straightened with care. If the tapestry is old or valuable a linen backing is often advisable, and this for two reasons. In the first place, if properly put on, it relieves the strain on the threads of the tapestry, and in the second place, it prevents the dust from accumulating on the threads at the back. In choosing linen for a backing a fine close weave is important and a sufficiently heavy quality so that it will bear the weight put upon it. The linen should be shrunk before using. It should be sewed firmly to the warp threads of the tapestry taking care that there is no slack. In case there are weak places in the tapestry itself these can be caught onto the back thus relieving the strain.
