T. Tapestries, 102; of the Gobelins and of Beauvais, 102, 104; qualities which they must possess, 111; difference of from the Beauvais, 113; principle of contrast in the production of, 109; difference of, from painting, 111; requisites for assimilating it to painting, 112; patterns for, _ib._; effect of contrast on the browns and lights of, 208; principles involved in the colours of, 219; with human figures, 219, 224; for furniture, 220, 224; critical remarks on, 221; corresponding to paintings in chiaro-’scuro, 219; in flat tints, 224. Ternary assortments of colours, 50, 51, 59. Ternary combinations of colours complementary with black, 55; not complementary, 56. Textile fabrics, colour printing on, 118. Thickets of trees, different kinds of, 187. Threads, coloured to make mixtures of, 102, 104 _et seq._; red and yellow, _ib._; red and blue, 105; yellow and blue, _ib._; mixture of complementary colours, 105. Tint of the complexion, how to dissimulate it in portrait painting, 178, 179. Tone, contrast of, 4; experimental demonstrations, 7; the height of to be considered, 66; contrast of on written or printed paper, 138. Tones, definition of, 34; of the same scale of colour, 47; of the scales of wool and silk, judging their equidistance, 209. Trees, assortment of in gardens according to the colour of their foliage, 184; distribution and planting of, in masses, 185; different terms applied to groups of, when employed to form a landscape, 186, 187; harmony between masses of, 192. V. Vandyke, masterpieces of, 99. Violet, complementary to greenish-yellow, 16, 17, 18, 20; placed in juxtaposition with scarlet-red, 24. Violet and black, effects of juxtaposition of, 21; combinations of, 55. Violet and blue, change by juxtaposition, 27. Violet and grey, effects of juxtaposition of, 22. Violet and red, change by juxtaposition, 26. Violet and white, effects of their juxtaposition, 19. Violet draperies, 170. Violet light, modifications produced by, 72.