TAP 



16 



I \ I 1 



faithful 

 ment : 



MoBtai 



t<> im mot litenulj the modi of life <>t' mu 



us then - their churches, their 



dre-si ... th.'ir ami-. ami even thanks to their expl:i: 



is their language at different epochs. Further tli;\n 

 thi-. it' we refer to the inventory of Charles \ '.. made in 

 |:)7'.i. we find that all the French literature of the fruitful 

 ling the era of that wise monarch had been by 

 hi- ordei- translated into wool.' At a later period, al- 

 though the beauty of tapestry was increased by improve- 

 ments in the arts of weaving and du-ing. and by the adop- 

 tion of superior de-isms, much of its peculiarly interesting 

 character was lost. .luhina). in the smaller work frequent 1\ 

 quoted ill the earlier part of this article, regrets the dis- 

 appearance of the Gothic labels, \vhich contained quaint 

 descriptions of the subject- represented : of the p: 

 architecture of the middle ages 'nrrhilrrtin;- <i nyin-x'. 

 and of the furniture and our forefathers : and 



Miccivcs that their place is but ill supplied by the 

 imitation. clever in the great masters, but detestable in 

 their disciples.' of Greek and Roman forms, of which he 



- to celebrated and grievous examples in the com- 

 positions of Hubens reproduced bv the manufactory of 

 the Gobelins ; in the tapestries of Beauvais, and in tin 

 of Aubusson.' 



In the primitive method of working tapestry with the 

 needle, the wool was usually applied to a kind of canvas, 

 ami the effect produced was coarse and very defect i\ e : 

 but some finer kinds of tapestry were embroidered upon a 

 silken fabric. The procc-s of weaving by the loom, after 

 the manner known as the lunite I ism; or high warp, was 

 practised in the tapestries of Flanders and. according to 

 .lubinal. in those of England nlso\ as early as the four- 

 teenth and fifteenth centuries; the only' essential dif- 

 ference between these and the productions of modern 

 times being that previously noticed, the comparative size 

 of the pieces woven in the loom. The weaving of tapestry, 

 both by the ' haute lisse' and the 'basse IISM .' app: 

 he of Oriental invention : and the difference between the 

 two methods ma) be briefly described. In the ' haute 



the loom, or rather, the frame with the warp-ti 

 is placed in a perpendicular position, and the weaver 

 works standing : while in tin' basse lisse' the frame with 

 the warp is laid horizontally, and the weaver works in a 

 sitting position. Inweaving with the 'basse lisse,' which, 

 now relinquished, the painting 



to In- copied is laid beneath the threads of the warp, which 

 are stretched in a manner resembling that of common 

 weaving, the pattern being supported by a number of 

 transverse threads stretched beneath it. The v. . 

 sitting before the loom, and leaning over the beam, care- 

 fully separates the threads of the warp with his tinkers, so 

 that he may see his pattern between them. He then 

 in his other hand a kind of shuttle, called a fti'itr. 

 charged with silk or wool of the colour required, and 

 een tin- threads, after separating them in 

 the usual way by means of treddles worked by th> 

 [\Vx\viM;.] The thread of woof or shoot thus inserted is 

 finally dri-. i> to the linished portion of tin 



by means of a rc'-d or comb formed of box-wood or 

 th. 1 teeth of which ai : between the threads of the 



. Ill this prur t of the tapestry is down- 



-. so that the weaver cannot examine hi* woik until 

 the piece is completed and removed from the loom. The 

 frame of the 'haute !i-se' loom con-i-ts of two upright 

 side-pieces, with large rollers placed hori/ontalh In 

 them. The thread.- of the warp, which usualh cnn-i.-l ol' 

 twisted wool, a iv wound round (lie upper roller, and Un- 

 finished web is coiled round the lower one. 'I 

 or design to be copied, i- placed perpendicularly behind 

 the back or wrong side of the waip. and then the principal 

 outlines of the pattern are drawn upon the front of the 

 warp, the threads of which are sufficiently open to allow 

 the artist to see the design between them. 'I he cartoon is 

 then reui"\r<! -o tar back from the warp that the weaver 



place himself between them with his hack towards 

 that he must turn round whenever Ill- 

 wishes to look at it. Attached to the upright side-pieces 

 of the frnme are contrivances f 



the wnrp, so as to all. 



the baise >. as it were, blind- 



fold : but by walking round to tin- front nf the loom he 

 may see the progress of hi* wo.',, ami m.i\ ftdju ' 

 . which IIIIM- not be iut<i their ns:iii 



or comb, with a la' .1 an 



iiiyiii/ The jiroi .king with the 



i- much slower than the other, and is iiidenl. 



sa\s .lubinal, almost as slow as that of working with the 



l\ Wilton, in describing the pn I the 



Hold Ho\al des Gobelins, observes that 'Not the 



-ling part of the ]>roeess was that performed by the 



. or fine-drawers, who so unite the I 



the tapestry into one picture, that no seam i- di-cernible. 

 but the whole appears like one desiirn.' Now. Inu- 

 tile piece- are win eii so wide that joining is \ eiy seldom 



in for the largest pie. 

 .lubinal. 



irt nf 



rurk. edited by the Right Honourable th. 

 of Wilton : Th'' H<iii<lln><:k 

 bert : 



TAI'HO/.OVS. [('HEIROPTBRA, vol. vii.. p. 21. } 



TAl'lO'CA, a farinaceous substance. ])iepari-d in South 

 America from two species of .lanipha, or the bitter and 

 sweet Cassada or Manioc plants, which two 

 regarded as one species, and comprehended under the 

 name of .latroplia Slauiliot. till Pohl distinguished them, 

 calling the bitter Mitiii!.- the sweet 



Munhn! .!</./ 1'ohl, /'/. /<n/.w7.. ic. i. :(2t.2l. Tin- 

 chief distinction between them is that a- tiingh ligneous 

 fibre or cord runs ihe heart of the 



-.a root, of which the latter is destitute.' Tl 

 the bitter i-ontains a highU acrid and ; juice. 



from which the sweet is exempt. \ et the bitter is cul- 

 tivated almost to the entire exclusion of the other, 

 which is probably owing to the greater facility with which 

 it can be ground or rasped into flour, owing to the ab- 

 sence of the ligneous centre. The ; . rinciplc of 

 the bitter manioc is thought to be of the nature of hydro- 

 cyanic acid. (Guibourt, Hint. r/'A l>r>n;iti'x. torn. ii.. ] 

 Hieme I'd. : It is easily dissipated or decomposed !> 

 or fermentation : hence the flour becomes perfectly whole- 

 some in the process of baking the casva bread, 

 vol. vi., p. 344.] The juice, alter e\ may be in- 

 spissated by long boiling, or formed into a soup, with flesh 

 and spices, called casMircpo. Uy means of n 

 can be fermented and converted into intoxicating drink. 



The fecula, or flour, after the juic .'fully 



expressed. ha\ing be. '. and dried in the air with- 



out heat, is termed mnnrlinrii in lirazil. n in the 



Antilles, and ryy// in Cayenne. This constituted the 

 Brazilian arrow-root of Knglish commerce. \Vheii this 

 fecula is jirepared h\- drying on hot plates, it becomes 

 granular, and is calli irs in in. 



lumps or mains, and is \; bible in cold \ 



The granules, diffused tbrouirh water, and examii;. 

 (he mi. ' uniformity of sue. and smaller 



than those of arrow-:. Tapioca is 



very nutritious and -tion. being free from all 



stiiimlating t|ualitics. It i- tlien.n.ie sen ni 

 distinguish it from an artificial tapioca made with 

 and potato starch, which is in laigcr 'rriinulcs. whiter. 



oluble in cold water than 

 the genuine. 



TAI'IK, Tnj.iri:--. the inline of a 

 inatous quadrup 



I.im not notice tlie Taj)ir in the 



last edition of the .V 

 it as the Ii 

 siilci.-. -',-'. \at. \. i.. p. 7!. u. -. 



it under the title 'f'i}n'i\ bi ; 

 llii'i-iiroi 



Cuvier aiiangcs the ffcnu- a., th, : :s I'urhy- 



g it innni '. tin- 



extinct I'nli.'nllii'rin and I.oplnodons. Tin- rein. 

 well known to the older i the 



natural products of Am.-ii 



' MZMIIIN. 



Bhtlelnii. \\lu-n viewed in jirofile. the pMiimiilal ele- 

 vation 'I of the Tapir, calling to mine! 



