Both are woven with the wrong side toward the weaver. "The wrong side in all real tapestries is just the same as the right side except for reversal of direction and for the loose threads.... In the high warp loom, the outline of the design is traced on the warp threads with India ink from tracing paper, and the coloured cartoon hangs behind the weaver, where he consults it constantly. In the low warp loom, the coloured cartoon is usually beneath the warp, and often rolls up with the tapestry as it is completed."[5] In the eighteenth century, the low warp loom was considered better than the _haute lisse_, or high warp. [5] The description of technique is quoted from Hunter's "Tapestries." Great care has to be taken in dyeing the threads of the weft, which are much finer than those of the warp. Vegetable dyes, such as cochineal, madder, indigo, etc., must be used, for permanent colours can never be obtained with aniline dyes. The old Spanish dyes were considered the best. In this country, one sometimes gets the fine colours in an old Mexican serape or a prized Navajo blanket. The wool that is used to mend old tapestries in the American museums is coloured with dyes made by Miss Charlotte Pendleton in her workshop near Washington, which I have visited. The Arras tapestries have a better and more attractive texture than any others. "Arras tapestries are line drawings formed by the combination of horizontal ribs with vertical weft threads and hatchings. There are no diagonal or irregular or floating threads, as in embroideries and brocades. Nor do any of the warp threads show, as in twills and damasks. The surface consists entirely of fine weft threads that completely interlace the coarser warp threads in plain weave (over and under alternately), and also completely cover them, so that only the ribs mark their position--one rib for each warp thread. Every Arras tapestry is a rep fabric, the number of ribs eight to twenty-four to the inch." The finely woven textures are not always considered the best. "The most marvelous tapestries of the fifteenth century were comparatively coarse (from eight to twelve ribs), and of the sixteenth were moderately coarse (from ten to sixteen)." Many of the early Gothic tapestries had inscriptions woven at the bottom or the top, but had no borders. It was not until toward the end of the fifteenth century that they began to develop these. They first had narrow verdure edgings, until Raphael introduced compartment borders in the set of the Gates of the Apostles, the most famous tapestries of the world. The most noted cartoons in existence are the designs for this set, in the Victoria and Albert Museum at South Kensington. Renaissance borders were much wider than the Gothic, and were filled with greens and flowers. At the end of the seventeenth century the borders took the form of imitation picture frames.