When we attentively observe the rosy flesh tints of many pictures, we perceive in the shadows a more or less apparent green tint, resulting from the contrast of rose with grey. (I presume that the painter has made his shadows without using green, and that he has not corrected the effect of contrast by using red.) Now a weaver, ignorant of the effect of rose upon grey, in imitating the shaded part will have recourse to a green-grey, which will exaggerate an effect that would have been produced naturally by employing a scale of pure, not of greenish grey. QUALITIES WHICH PATTERNS FOR GOBELINS TAPESTRY MUST POSSESS. 356. To determine the qualities which model pictures for tapestry must possess, we must decide what are specific qualities peculiar to this kind of imitation. The weaver imitates objects with coloured threads of a certain diameter. These threads are applied round the threads of the warp. Their surface is not uniform but furrowed, those which are parallel to the threads of the warp being lower than those which are perpendicular to it; the effect of these furrows being such as would be produced upon a picture, by a series of dark parallel lines, cut at right angles by another series of finer parallel lines, less dark than the preceding. 357. There are these differences then between tapestry and painting:— 1. Tapestry never presents those blended colours which the painter obtains so easily by indefinitely mixing or dividing his pigments. 2. The symmetry and uniformity of the furrows of tapestry prevent the lights being as vivid, and the shadows as vigorous, as in a painting; for though the furrows obscure the lights, the salient parts of the threads which are in the shades, have the ill effect of enfeebling the latter by the light they reflect. 3. The lines surrounding the different objects in a painting, although straight or curved in every direction, may be of extreme fineness without ceasing to be perfectly distinct, while the threads of the weft and the warp, always crossing at right angles, interfere with such a result whenever the lines of the pattern do not exactly coincide with these threads. 4. The painter has other resources, which are denied to the weaver, for increasing the brilliancy of the lights and the vigour of the shadows. For instance: he opposes opaque body-colours to glaring colours, he modifies an object of a single colour by varying the thickness of the layer of paint which he places on the canvas; and within certain limits he can produce modifications, by changing the direction of the strokes of his pencil. 358. Hence, to raise the effects of tapestry as nearly as possible to those of painting, it is requisite:—