November, 1918 
23 
Tapestries can be used as panels 
on either side the fireplace pro¬ 
vided, of course, that the fireplace 
warrants such a treatment The 
mantel in the drawing room above 
is carved marble surmounted by 
an overmantel of well-propor¬ 
tioned wood paneling 
heroic figures, for the type must corre¬ 
spond with its surroundings in order to 
give artistic results. 
How to Hang Tapestries 
The ideal manner of hanging tapes¬ 
tries is to let them be suspended loose 
and free, with occasional slight folds. 
But this is not always feasible since the 
place for the tapestry may be an exact 
space—say in a panel on either side of a 
fireplace—in which instance they have to 
be stretched flat. This stretching has 
ample precedent since even Grinling 
Gibbons was responsible for wood panels 
in which to stretch tapestries—whether 
hung loose or stretched in a frame, the 
actual fabric of the tapestry should not 
be attached. A band of stiff webbing 
with rings sewed on at intervals should 
be attached to the tapestry, and the whole 
suspended from hooks. Or, if one in¬ 
sists on a flat tapestry the webbing can 
be fastened to a flat board and the board 
hooked into place. 
As a final note on the mechanics of 
tapestry handling, remember that a tapes¬ 
try should never be folded. It should be 
As a contrast in treatment study 
the picture below. The setting 
does not justify the dignity that 
an expensive or even inexpensive 
tapestry would give. Instead 
there is used an old damask cope, 
rich in color and delicate in fabric 
—an ample decoration 
rolled on a long round stick when put 
away. 
For Halls, Walls and Panels 
The three illustrations here show tapes¬ 
tries hung to the best advantage. In the 
first—the high ceilinged hallway—the 
tapestry covers a multitude of architec¬ 
tural sins in that it fills an awkward 
space between two paneled doors. With¬ 
out it the hall would appear colorless. 
Although the space does not fit it ex¬ 
actly the treatment is justified because, in 
this instance, the tapestry is the domi¬ 
nant object. 
The second shows an old Flemish tap¬ 
estry covering the better part of a side 
wall and acting as background to an 
antique refectory table. Tapestry of this 
value should not be hidden behind an 
array of furniture; its display value must 
be considered. 
As panels on either side an ornate fire¬ 
place—which is the treatment in the third 
illustration—the tapestries are pleasingly 
successful. They give balance, color and 
richness to a group that in itself is of 
high merit. 
