While the designers have at different periods met these various problems in different ways and with varying skill, the technique of the weaving has never been modified to any extent. For centuries this simple kind of weaving has been done. In essentials it is the same as that used in the most primitive kind of cloth manufacture. The warps are stretched on a frame that may rest horizontally or stand upright. The shuttle full of thread of the desired color is passed over and under the alternate warps, the return reversing the order, now under the warps where it was before over, and over where it was under. A comb is used to push the wefts thus woven close together so that they entirely cover the warps. In the finished tapestry the warps run horizontally across the design. A change of colors in the weft-threads creates the pattern. In the more complex patterns of later works the weaver follows the design drawn in outline on his warps, or sometimes, in the horizontal looms, follows the pattern drawn on a paper laid under his warps so that he looks down through them. His color cues he takes from the fully painted cartoon suspended somewhere near in easy view. Occasionally, in later pieces, to enrich the effect, the simple tapestry weave is supplemented with another technique, such as brocading (cf. No. 52), but this is rare. All the earliest examples left to us of this kind of weaving are akin to tapestry as we usually know it only in technique. They have practically no bearing on the development of its design. Of the very earliest we have no evidence left by which to judge. Homer, the Bible, and a number of Latin authors all mention textiles that probably could be classed as tapestries; but the references are too general to give us any definite clue as to the treatment of the design. But from the VIth to the VIIIth century, the Copts in Egypt produced many pieces, showing, usually in very small scale, birds and animals and foliage, and even groups of people. Of these we have many samples left. From various parts of Europe, primarily from Germany, in the next two centuries we have a few famous examples. But these are almost wholly without significant relation to the central development of tapestry design. Tapestry, in our sense of the word, begins, as far as extant examples are concerned, with the XIVth century.