Hampton Court is well known for its large collection of tapestries, the majority of which have been hanging on permanent open display since the Palace opened its doors to the public in 1837. Some of the most important pieces within the collection are a set of ten early 16th Century tapestries belonging to Henry VIII entitled the Story of Abraham. Each panel within the set depicts a key event in the life of Abraham as told in Genesis. These tapestries would have been important to Henry both in terms of the iconography and the vast amounts of money he spent on them. They are quite literally groaning under the weight of the gilded threads with which they are so heavily woven. They are important to us because of the insight they give into the excesses and values of Henry's court and not least because they are among only thirty Tudor survivors in the Royal Collection. This paper deals with the conservation of one of the pieces from this series entitled the Meeting of Abraham and Melchizedek. In it we will explain two different approaches used to compensate for loss of imagery in the tapestry. The first approach consists of the conservation of tapestry fragments that were used as in-fills by earlier restorers. The second details the use of fabric paints to create a new patch in-fill in a large area of loss containing complex woven colour. We will focus on both the thought process behind the two methods and the techniques and materials used.