A thick knitting-needle can be passed between the alternate threads of the warp and placed towards the top of the frame, as shown in the diagram. This takes the place of the cross-stave in the loom, and, by thus dividing the warp into two leaves, is of assistance when the shuttle goes in one direction. Coats cannot easily be applied to an embroidery frame.
It is quite possible upon a frame of this kind to weave a long narrow band of any kind. The warp must be wound on and arranged in position at the necessary length by separating the rollers and temporarily fixing them apart at the distance required for the band. The surplus warp is then wound up on the upper roller until the side pieces will fit into the ends. As it gets worked upon, the completed part is wound upon the lower roller. A piece both long and wide would be impracticable, especially if any winding on and off the rollers were necessary.
There are very few materials required for tapestry weaving; they consist of, string for warp, wools, silks, and maybe gold and silver thread for the weft.
The warp is usually composed of a smooth, strong, evenly twisted thread, specially made for the purpose. It can be procured of various thicknesses. It happens sometimes that in parts the warp shows, as a fringe or in some other way; in this case it could be made of a strong silk thread, such as purse silk, though for edges of mats, the ordinary string warp fringed out is quite suitable. Occasionally weaving is carried out in such a way as to expose the warp in various parts of the work, the pattern being woven, but the ground left altogether unworked. In a case of this kind the colour and composition of the warp is naturally important, and must be considered. In a show-case in the British Museum there can be seen a small book with an interesting woven binding carried out after this manner. The warp is composed of gold passing, and the effect of this with a pattern carried out in brightly coloured silks is very pretty indeed, the gold adding a rich glow to the whole.
Wool and silk are the chief materials used for the woof. It is well to choose those of fine texture, for several strands can then be wound together upon one bobbin, which, with coarse materials, would be too clumsy a method. When working in this way there is more opportunity of varying colour and texture, for three shades may be wound upon the bobbin together to get a required colour, and this has often a prettier effect than the use of an unblended colour; also, silk and wool are very satisfactory wound and worked in together, each texture showing the other to advantage.