1. That, in every instance in which a picture must be placed at such a distance from the spectator that the details of chiaro-’scuro will not be visible, we must have recourse to flat tints,—not neglecting, however, to use masses of light and shade adapted to give relief, if it is considered suitable. 2. That, in every case where the picture is necessary to the decoration of an object, flat tints are preferable to chiaro-’scuro, because the use of the object almost always prevents the picture which ornaments it from being clearly seen under all circumstances. Thus painting in flat tints is preferable to the other— For ornamenting boxes, tables, screens, which, from the various positions their use requires, only allow to be seen a part of the pictures which decorate them; or, if the paintings are entirely visible, as those of a screen, they will be presented relatively to the daylight in a manner quite different from each other, on account of these various positions of their parts; For decorating curved surfaces, as those of vases, the surfaces of which are never plain. 3. That the qualities peculiar to painting in flat tints are:— Purity of outline; Regularity and elegance of forms; Beautiful colours properly assorted. Whenever suitable, the most vivid and the most contrasting colours may be advantageously employed. Simplicity in the whole, so as to render clear and distinct view easy. OF THE ARTS WHICH ADDRESS THE EYE BY EMPLOYING COLOURED MATERIALS OF A DEFINITE SIZE, CONSIDERED RELATIVELY TO THE PHYSICAL CONDITION OF THESE MATERIALS, AND TO THE PECULIARITY OF THE ART IN WHICH THEY ARE EMPLOYED. 623. If we examine paintings with sufficiently powerful magnifiers, we shall see that the coloured material, far from being continuous in all its parts, is in separate particles, and consequently, if the naked eye does not perceive them separately, it is because they are too small. In fact, the coloured threads (elements of tapestries and carpets), and rigid coloured prisms (elements of mosaics), which are visible to the naked eye, may be reduced to such a state of division, and so mixed and combined, that at the distance from which we view them united they appear as a uniform coloured surface—as if painted; whence the possibility of making, with these elements, works which correspond to those painted in chiaro-’scuro; but it will be easier to execute such as correspond with flat tints. TAPESTRIES, CARPETS, MOSAICS, AND COLOURED GLASS WINDOWS, CORRESPONDING TO PAINTINGS IN CHIARO-’SCURO. _Tapestries with Human Figures._ 624. Tapestries with human figures derive their origin from the taste of mankind for painting. They had adorned churches, palaces, and castles, before they appeared in simple dwellings.