to arrive at a working area 70'-0" wide and 18'-0" high. RoIling scaffolding and A-frame ladders provided our working platforms. Working from the model it took approximately two weeks to lay in the major areas and another two weeks to adjust and complete the tapestry. Fiber techniques used were the familiar forms of weaving and macrame; and the not so familiar forms of finger weaving, wrapping, and fiber sculpture. Working with us-first as a helpful hand, and later as an assistant designer and friendly critic-was Jill Dacey, another fiber artist. The work progressed rapidly during the first two weeks, and we estimated that five miles of fiber was used during the first week. First, black skeleton lines of 1 '14" webbing were positioned. To these skeleton lines were attached the working cords-usually 1/4" or 3/32" cotton cord cut at a minimum of 30'-0" long. It was here that the major construction problem arose. In doing the model we had used a package weight Lady Macbeth at Inverness. Construction process. At this point the tapestry was complete and shows partially in the background. The banquet panel is the unit that is being worked on; at the right is the beginning of the blood knot. The rigging process. The tapestry has just been lifted off the floor. The spot lines show as vertical white lines. These lines went up to the rigid battens and then over stage left to the head blocks and then down to the floor. USITI /Spring, 1981 Banquo's entrance after the death of Duncan. The murder of Banquo. Theatre Design & Technology 11