Tapestry. A fabric resembling textile fabrics in that it consists of a warp upon which colored threads of wool, cotton or silk are fixed to produce a pattern, but differing from it in the fact that these threads are not thrown with the shuttle, but are put in one by one with a needle, and do not extend across the web, but only for a few inches. It is a sort of link between regular wovenwork and embroidery, from which it differs in having its stitches applied not to the finished web, but to the stretched warp-threads only, the weft stitches being put in loosely and carefully pressed home, so that the warp strings are almost completely hidden. Pieces of tapestry in the past have been used generally for covering the walls of rooms, for which purpose they were employed in the later middle ages down to the 18th century. Upon these tapesteies were represented as clearly as in any painting, scenes from the bible and mythology, romances and historical subjects, decorative work in which trees and foliage formed the main design, and the battles and victories of kings and princes. From the 11th to the 18th century these hangings of tapestry were made in all the countries of Europe, but it was in France that the art reached its greatest development. The designs which have been produced in French tapestry exhibit all that certainty of hand, and exuberant fancy which characterize the artistic family of France - the Gobelins. Gobelin tapestry receives its name from a family of dyers and weavers who settled in Paris in 1476. The head of the family was Giles Gobelin. It was he who discovered a peculiar kind of scarlet dye, and who expended so much money on his dyeing establishment that it was named la follie Gobelin. To the dye works there was added in the 16th century a manufactury of tapestry. So rapidly did the wealth of the family (descended from the original founder of the factory - Giles Gobelin) increase, that some of them forsook the trade and purchased titles of nobility. In 1662 the entire works were purchased by the French government, by which it has been managed from that year to this. This establishment the government founded like that of Sevres for the making of China, to raise the level of art-manufactures by setting the example of good design, fine coloring, and perfect workmanship. That they have done much there can be no doubt, but probably most of all in the matter of color. In this laborious and artistic work it is estimated that not less than 14,000 differently tinted silks and wools are in use. The French people have always been admirable chemists and dyers, and for exquisite brilliancy and general harmony of color the French tapestries are certainly unexcelled. The productions of the Gobelin governmental factories were chiefly for royal use and presentation, and even at this day few specimens are found outside the palaces of kings and princes. A single specimen owned in New York, measuring 54 x 27 inches is valued at $800. Real Gobelin tapestry is consequently hard to find in the market of the United States, though much is sold as Gobelin that is not genuine. The name of Giles Gobelin, who was the original discoverer of the new process for dyeing a beautiful and peculiar scarlet, was the means of adding a new word to our vocabulary. Everybody at that time looked on him as a crank for spending so much money on his factory, and it was called "Gobelin's folly," but the old dyer was shrewd and made a success ot his business - a success so great that the superstitious people of that time believed he was aided and abetted by the devil. The devil was supposed to have taught him the art of dyeing the beautiful scarlet on condition that at a certain time the devil was to have him, body and soul. When the time was up, according to the superstition, the devil came after him and caught him going through a yard at night with a little piece of lighted candle in his hand. Gobelin begged for time but the devil refused to let him have it. At last Gobelin requested his Satanic Majesty to wait until the bit of candle in his hand burned out, and the devil consented. The wiley old Gobelin, as soon as he got this concession, threw the candle into a well and pitched the devil in after it. The devil was very angry, but before he could get out, Gobelin gathered a guard around him and secured himself from further attacks. From this story came the word goblin, or hobgoblin, a ghost or spectre, and it has become one of the words of the English language, but it had its origin in the silly story told about the man whose family first made these tapestries. The weaving of tapestry in the Gobelin factory is still done by hand, the designs being chiefly copies of foreign masterpieces of painting; consequently the work requires more artistic than mechanical ability for its execution, and is both costly and slow. A square yard is considered a fair average year's work and the value is about $800. In admiring the beautiful work of the Gobelins, the uninitiated would be likely to think the loom which produces it was a remarkable piece of mechanism, and the weaver who aided in its manufacture was skillful above his kind. In point of fact, the looms are quite similar to those in use thousands of years ago, and the worker of to-day, with all our discoveries and inventions to help him does not excel those who wrought the cunning work of by-gone ages. The high warp loom of the ancient Egyptians, as represented in pictures 3,000 years old, bears a singular resemblance to that now in use in the leading tapestry works of the world: there are the cross-rods, the vertical warp, the comb or reed which keeps the texture even - in fact, there is not one really essential difference. The weft alone appears on both the right and wrong side of the fabric, and entirely covers the warp. It is composed of short lengths of worsted, cotton, or silk threads, and when finished is perfectly smooth. In the outline of his figures, and in passing from one shade to another, the workman is guided by a slight tracing on the warp, which is done by means of transparent paper, on which a sketch of the picture which is to be copied by the weaver is countertraced. This tracing of the picture on the warp, having to be done in sections as the work advances, would inevitably mislead the workman in the general affect if he were not careful to indicate certain leading points or guiding lines on the copy, and to mark them on the warp. But all these precautions and niceties would be of little use if the workman were not specially educated so as to be able to supply the insufficiency of the outline by his own intelligence and by the resources of his art. Neuilly or Jacquard tapestry is made on the Jacquard loom, in imitation of that of the Gobelins. In these goods the design is brought out entirely by means of the weft, the warp-threads being used only as binders to hold the threads of the weft together. In the tapestry loom, with the Jacquard attachment, there are sometimes used 24 or more colors of weft - each in a different shuttle. These shuttles are passed to and fro through the warp by the hand of the weaver as the proper warps are raised by the the Jacquard machine, which at the same time indicates the particular shade of weft to be used by the workman. Cluny tapestry is a strong thick cloth, made of wool and silk, especially for hangings and curtains, the manufacture of which was introduced into England in 1875. Tapestry cloth is a corded linen cloth prepared by tapestry painting.