The Hebrew loom was most probably the counterpart of those still observed by our Eastern travelers. One of them noticed its use in Jerusalem, where the worsted was not worked in, but woven into the piece, and the pattern of the weaving changed, so that the color of the thread was completely thrown out, forming a triple fringe, through which the weft could not be seen. “In two of our specimens,” says Mr. Wilde, “we find twelve thick threads crossing the piece, and the tassels tied exactly as they are at the end of a piece of modern Irish linen. But the slipping of the weft is prevented by a curious process, performed by tying the threads of the warp together, so that each is secured to the thread at each side of it. This process forms a slight ridge at the end of the piece, and is rather ornamental. This fringe appears to be alluded to in that passage of Scripture, where the Israelites were directed to make fringes in the borders of their garments, and that they put upon the fringe of the borders a ribbon of blue. I have seen a species of mummy-cloth in Egypt corresponding to this description precisely. Such was, probably, ‘the hem of the garment.’”[1] Many of the Egyptian stuffs presented various patterns worked in colors by the loom, independently of those produced by the dyeing or printing process, and so richly composed, that they vied with cloths embroidered by the needle. The art of embroidering was commonly practiced by that people. The Israelites, when in the wilderness, used the skill which they acquired in their captivity, for they made a rich “hanging for the door of the tent, of blue, and purple, and scarlet, and fine twisted linen wrought with needlework;” “a coat of fine linen” was embroidered for Aaron; and his girdle was “of fine-twined linen, and blue, and purple, and scarlet, of needlework.”