The other clamp is then screwed down, the first one unscrewed, and the yarn wound on to the beam, the bobbin-stand moving forward along its rack up to the setting table. This operation is continued until the whole of the yarn has been wound from the bobbins on to the beam, which is now ready to be put into the loom and woven. [Illustration: FIG. 24 TAPESTRY VELVET. 3-SHOT] The method of weaving is substantially the same as with Brussels; and except for the pile warp beam, which is generally placed high up at the back of the loom, and for the absence of a Jacquard, the mechanism of the loom is not dissimilar. There are three heald-frames: two for the two halves of the cotton chain, and one for the stuffer and the pile warp, the jute and worsted being threaded through two eyelets, one below the other. The Tapestry loom is run at rather a higher speed than the Brussels, the Moxon or switch principle of wire motion, which is generally adopted, tending to make this possible. A double stuffer, that is, two ends of jute, of 14 lb. or 16 lb. count, to each reed, is used for an average quality; and a treble stuffer where greater weight is required. [Illustration: FIG. 25 TAPESTRY VELVET A, Chain; B, Stuffer warp; C, Pile warp; D, Weft] Tapestry velvet bears the same relation to the looped fabric as Wilton does to Brussels, the essential difference being the use of a knife-ended wire, instead of a round wire. The use of three weft shots per row of pile is not, however, the almost invariable rule in Tapestry velvet, that it is in Wilton. [Illustration: FIG. 26 TAPESTRY VELVET. 2 SHOTS IN THE GROUND] A three-shot fabric is, of course, more expensive to make than a two-shot; and there is also the consideration that, unless the pile is pretty high, the double shot on the top will tend to make the surface grin. The method, therefore, of using a double shot in the ground is sometimes adopted. (Fig. 26.)