Cut work or “appliqué” is another form of embroidery, where flowers, foliage, ornament, and figures are separately wrought with the needle, and the spaces cut out of the ground material into which these pieces were inserted. Many examples of Spanish, Rhenish, and Florentine needlework may be seen in the Kensington Museum, in which the architectural portions of the design are woven, and the figures of saints and other subjects worked on fine canvas and inserted in the panel spaces. Another and commoner kind of appliqué work is where the ornamental shapes are cut out of silk, velvet, linen, or woollen material, and sewed on to the cloth foundation, an edging material being used consisting of silk cord, gilt leather, or gimp. Appliqué work is more adapted for hangings and furniture coverings than for dress material, though it was formerly used for dresses. The illustration (Fig. 274) gives a very good idea of the style of ornament in Spanish or French embroidery of the Renaissance period. TAPESTRY. Tapestry weaving is an art that requires greater care and skill on the part of the workman than any other branch of textile manufacture, especially in that kind known as “storied tapestry,” in which is woven a design or picture copied from a previously executed cartoon. Tapestry is woven in the “high warp” (_haute-lisse_) or in the “low warp” loom: in the former case the loom is vertical, and in the latter horizontal. The largest sized and the more important kinds of tapestry, such as the “Gobelins,” are made in the high warp looms. On account of the skill required, the accuracy and difficulty connected with the weaving of storied tapestry, it takes a long time to educate and perfect the training of a tapestry weaver—who must be an artist himself, so much being left to him in the selection, harmonizing, and shading of the different colours, even after the design is made that he is required to copy. In tapestry weaving the warp is covered by the woof on both its sides. The warp is divided into two leaves or parts by a thread, and by a glass rod or tube called the _bâton de croisure_. “To form the web, the workman takes a shuttle mounted with wool or silk, the end of which he fastens to the warp to the left of the space to be covered by the colour in his shuttle; then passing his left hand between the two leaves, separated by the _bâton de croisure_, he draws towards him the thread which this shade is to cover; his right hand, passing between the threads, lays hold of the shuttle, which he brings to the right, and his left hand taking hold of the coats brings forward the back thread of the warp, while the right hand returns the shuttle to the place from which it was first moved. This passing and returning of the shuttle forms what is called two shoots or a course.” (De Champeaux).