During this gradual change through five hundred years in the artistic qualities of tapestry the technical tricks of the weavers underwent corresponding modification. In the Gothic period the drawing depended primarily upon a strong dark outline, black or brown, that was unbroken, and that was especially important whether the design was affiliated rather with panel painting (cf. No. 1) or with the more graphic miniature illustration (cf. No. 5). Even the lesser accessories were all drawn in clear outline. Within a given color area, transitions from tone to tone were made by hatchings, little bars of irregular length of one of the shades that fitted into alternate bars of the other shade, like the teeth of two combs interlocked. And for shadows and emphasis of certain outlines, some of the Gothic weavers had a very clever trick of dropping stitches (cf. No. 1), so that a series of small holes in the fabric takes the place of a dark line. During the Renaissance the outline becomes much narrower, and is used only for the major figures, a device that sometimes makes the figures look as if they had been cut out and applied to the design. Hatching, if used at all, is much finer than in the earlier usage, consisting now of only single lines of one color shading into the next. In the work of Fontainbleau (cf. Nos. 36, 37), the dotted series of holes between colors is still used to give a subordinate outline. During the XVIIth century hatching is scarcely used at all, and the outline has practically disappeared. During the XVIIIth century the French weavers perfected a trick which obviated any break in the weave where the color changes, thus enabling tapestry to approximate even closer to painting effects. To the weavers who adjusted these tricks to the varying demands of the cartoons, and so translated painted patterns in a woven fabric, is due quite as much credit for the finished work of art as to the painters who first made the design. Famous painters did prepare tapestry designs. Aside from the masters of the Middle Ages to whom tapestries are attributed, we have positive evidence that, among others, Jacques Daret, Roger Van der Weyden, Raphael, Giulio Romano (cf. Nos. 23-25), Le Brun, Rubens, Coypel (cf. Nos. 62, 63), Boucher (cf. Nos. 67, 68), Watteau, Fragonard (cf. No. 69), and Vernet (cf. No. 70), all worked on tapestry designs. The master weavers who could transpose their designs deserve to rank with them in honor.