In France, under Louis XIII, Renaissance patterns were admirably copied, as well as those of the sixteenth century. The reproduction of old designs is not confined to Italy and France alone. In nearly every country there have been imitators of the best samples of ancient stuffs, damasks, brocades and velvets. As regards imitation, the more complex the pattern in design and colouring, the easier it can be reproduced with success. In fact plain velvet is the most difficult to imitate. No one, not even in the past, has ever reproduced the fine velvets of the Quattrocento and early Cinquecento with complete success. Methods of ageing modern stuffs which have not the advantage of the genuine hues of age of old imitations, greatly resemble in general lines those adopted to give an appearance of age to other objects. If the colouring is crude and too new looking, the stuff is exposed to atmospheric action, rain, dew and sunshine. Needless to add, this treatment must be followed with care and discrimination otherwise the fabric may be reduced to a rag as well as to an appearance of age. To harmonize the colours and give them a more faded look, some put the goods into a bath of slightly tinted liquid, thus obtaining on the fabric what in painting is termed velatura. Others put the liquid into an atomizer and steam it on to the stuff. This process has the advantage of giving alternate hues without any sharp delimitation between them. These methods, however, by which the artist can display variation, are not convenient or possible in the case of large quantities of fabric, nor is the result convincing in the proximity of the original. One does not need to be an expert, in fact, to see the difference between the old and the new on a piece of furniture or in a room where imitations have been used to supply what was lacking. To make imitations more convincing, more especially in the case of small pieces, some antiquaries stitch on bands before discolouring the stuff, which are afterwards taken off leaving parts with fresher colours, as often happens in really antique pieces that have belonged to ecclesiastical copes, etc.