From the filamentous condition of the elements constituting them, their size, the direction the weaver gives them in twisting the weft upon each thread of the warp, results a coloured image presenting two systems of lines cutting each other at right angles. From this structure it results, that a tapestry will not produce the effect of a painting (the surface of which is entirely uniform), if the spectator does not view it from a point sufficiently distant; so that, these lines ceasing to be visible, the delineation which separates each part of the design from the contiguous parts, will appear like the delineations of a painting, as much so as the indentations of the outlines which are oblique to the weft will permit. Hence _the objects represented by it must be large, of various colours, forming harmonies of contrast rather than harmonies of analogy_. 625. Every model which does not fulfil the previous conditions is bad, and as, in pictures which have not been painted with the intention of being reproduced in tapestry, it is difficult to meet with the union of pure outline with harmonies of colours sufficiently numerous and contrasted, it follows that what would be very advantageous to the art, is the execution of pictures intended to serve exclusively as models, painted broadly, so as to resemble, in some degree, painting in flat tints. The weaver not having, at least at present, models painted on this system, has to make, not only, as we say, _a translation_, but also _a free and not a literal translation_, of the model; and it is this, in my opinion, which distinguishes the artist-weaver from the mere _workman_. Far from contending, then, with painting, the weaver, on the contrary, must study the circumstances in which he should yield in the struggle, so that he may avoid the difficulties with the means at his disposal; and when, especially, he must deviate from his model. _Tapestries for Furniture._ 626. The preceding consideration respecting the size of objects that figured tapestries should reproduce, is not applicable to tapestry for furniture, seeing that the threads of the warp produce lines which, far from being disagreeable, are often imitated by the paperstainer. 627. These fabrics being intended for chairs, couches, curtains, screens, &c., the painter charged with composing designs for this class of works, must never forget that tapestries may occupy dark places, where they are imperfectly and often indistinctly seen; consequently he must select simple and elegant forms, in harmony of colour with the tapestry, &c., in the apartment. These models, even more than those for tapestries with human figures, must assimilate with painting in flat tints.