in the ancient catalan city of tarragona, joan miro meets with young master weaver josep royo to discuss the transformation of his painting into a 10-meter-high tapestry. studying a photograph of the maquette, they consider how best to translate miro's art into a heavily- textured weaving, which would capture the spirit of his concept. royo has an enormous task before him. in this converted flour mill in tarragona, many months of preparation are needed before the weaving itself can begin. nearly four miles of heavy cotton line is measured, stretched and chained for use as the tapestry's vertical warp. royo has developed a unique loom for weaving large tapestries. it has been built to accommodate the 20-foot width and the 420-warp threa which must be accurately spaced and held in line. after all the warps have been laid out, each more than 50 feet in length, they areound s onto a huge drum before finally being transferred to a massive overhead roller and stretched tight. on a cold february morning in 1977, the loom is ready for the weaving process to begin. the wool for the weft was impor