CHAPTER II.

ON THE PRINCIPLE OF MIXING COLOURS IN ITS CONNECTION WITH THE MANUFACTURE OF SAVONNERIE CARPETS.

(404.) THE mixing of colours in the manufacture of Savonnerie carpets is always performed by mixing differently coloured threads, as was mentioned above (401.); consequently we do not, as in the Gobelins Tapestry, make mixtures by hatchings (378.). We may easily understand that we can graduate a colour by juxtaposing threads of this colour lighter and lighter, in proportion as they are removed from the highest tone. In a similar manner we may understand how we can make one colour pass into another, by juxtaposing compound threads in which the proportion of the first colour diminishes, with other compound threads in which the second colour increases.

(405.) The mixture by threads is the most important thing for the beauty and richness of the colours: but if it be true that, in order to make it successfully, it is sufficient to observe the rules laid down before (380.), when speaking of Gobelins Tapestry, and that under this relation it would appear superfluous to refer to this subject-yet, in consequence of the worker in tapestry making use of threads composed of five or six threads, which may be variously coloured (401.), he finds by this that he is much more exposed to error than the Gobelins weaver is, when he proceeds to mix threads which he desires should retain the richness of their colours. Such, then, is the motive which determines me to consider anew the art of mixing coloured threads in making Savonnerie carpets.

I. RULE.-Respecting the Mixing Red and Yellow threads, Red and Blue threads, and Yellow and Blue threads. Whenever the weaver wishes to produce by mixture a vivid Orange, Violet, or Green, he must only mix such threads as

in the combination will present these two colours solely. Consequently the compound thread must consist only of threads belonging to the two elementary scales or to their intermediate hues; in the case where he wishes to modify the tone of one of the colours or both, he must mix different tones of the same scale. But it is not useless to remark that the mixture of three threads of the tones 3, 4, and 5, of the same scale well graduated gives the same result as if we had taken three threads of tone 4.

II. RULE.-Respecting the complementary mixture of Red and Green threads, Orange and Blue threads, Yellow and Violet threads.

These mixtures giving rise to Grey, the weaver cannot add brilliant colours without the latter being broken or tarnished by the former, precisely as they would be if we had added Grey to them. One consequence of this rule, then, is never to admit complementary colours into mixtures which are intended to compose brilliant colours.

III. RULE.-Respecting the mixture of threads of complementary colours, but in such proportions that they do not completely neutralise each other.

The weaver must not have recourse to mixtures which belong to the third rule, except when he intends breaking or tarnishing his colours: and it is evident that the less he retains of a colour in excess over the quantities of those which are mutually complementary, the more this excess in the former will be broken by mixture with the latter.

We see, then, that we can break the colours without having recourse to broken tones, and that if we would make one colour pass into another without running into Grey, we must avoid every juxtaposition of colours which, by confusing the eye, would produce the effect of mixed complementary colours (380.).

CHAPTER III.

ON THE PRINCIPLE OF CONTRAST OF COLOURS IN ITS CONNECTION WITH THE FABRICATION OF SAVONNERIE CARPETS.

(406.) IF it be true that a knowledge of the principle of contrast is less necessary to the worker of Savonnerie than it is to him of the Gobelins, yet it would be a mistake to suppose that the first can remain ignorant of it without disadvantage.

In fact, although the worker of Savonnerie need not so assiduously copy his model faithfully in its colouring as the Gobelins weaver, and as the five or six differently coloured threads which he can unite to form a compound thread may be very favourable to the gradation, and to the passage of one colour into another, yet this very liberty which permits of a slight departure from the colours of the model, imposes on him the obligation of producing the best possible effect. Can he follow a better guide than the law of contrast when he seeks to attain this aim ?

CHAPTER IV.

CONDITIONS WHICH MUST BE FULFILLED IN THE PATTERNS OF SAVONNERIE CARPETS.

(407.) THE Savonnerie weaver working from the same painted patterns as the weaver of the Gobelins and of Beauvais, I next speak of the principal conditions which these patterns must fulfil, in order that the carpet reproducing the pattern may fully realise our intention.

ARTICLE 1.

1st CONDITION-Respective size of the figured objects. (408.) The size of the objects represented must be in proportion to the whole extent of the carpet: great trophies and ornaments suit only large carpets, and simple patterns are best adapted to small ones.

(409.) On the other hand, if the apartment to which the carpet is fitted is defective in the proportions of the breadth to its length, the designer must take care to avoid increasing this defect to the eye by his design and the manner in which he distributes his masses.

ARTICLE 2.

2nd CONDITION-Distinct View.

(410.) All the parts vividly coloured, and having well defined patterns, must be visible in their entirety, when the furniture is placed in the position it is intended to occupy in the chamber to which the carpet is fitted, this apartment being what is commonly called arranged.

For example:

The border of a carpet upon which chairs, couches, sofas, &c., are placed, must be black or brown: in the case where preference is given to a ground uniform with the pattern, this latter must be very simple, and composed only of two or three tones of colours much deeper than those of the rest of the carpet, when this does not exhibit large dark masses; and it is by deep tones of the blue and violet scales, and also with those of other scales (218.), that we have the opportunity of recalling the harmonies of analogy.

(411.) The actual border of a carpet must not be under the chairs. It must appear as a continuous frame to all the objects represented upon the carpet, and this framing must not be interrupted by the hearth.

(412.) If a piece of furniture must be placed in the middle of the apartment, or rather of the framing, the figures of the carpet must be executed in conformity; that is to say, in such manner that they commence at the line circumscribing the place occupied by the furniture, and extend beyond this place.

(413.) Every trophy or design presenting a well circumscribed object, or, in other terms, every design without lines parallel to the border, must be seen in all its parts, so that the eye can embrace the whole without difficulty. And it must also always have a sufficient interval between the border and the trophies, or, more generally, the objects circumscribed, to which the artist desires to draw the chief attention.

ARTICLE 3.

3rd CONDITION-Analogy with places or persons.

(414.) Other objects than arabesques or imaginary figures, depicted on a large carpet, must possess some analogy with the purpose of the apartment where the carpet is laid, or offer some allusion either to places or persons.

ARTICLE 4.

4th CONDITION-Distribution of Colours.

(415.) The colours must be distributed in such manner as to give value to every part of the carpet, not only in each particular object, but also in the union of objects forming a single composition.

Of the local Colours and the Colours of each particular object.

(416.) Every object must be perfectly detached from the ground upon which it is placed. If rose or red predominates in an object, the ground must be neither crimson nor scarlet, nor violet; if blue predominates, the ground must generally be neither violet nor green. If the object is yellow, orange must be forbidden to the ground. For the rest, I shall refer to what I have said above (396., 397., 398.) in speaking of the conditions which must be fulfilled in reference to the patterns for Beauvais tapestry for furniture.

Of the General Harmony of Colours in a Carpet.

(417.) There are some important observations to be made upon the general harmony of colours, which is frequently neglected by the designer of patterns for this kind of fabric; yet without it, the effect in a carpet is injured, whatever may be the perfection with which each particular object is rendered.

(418.) If the carpet represents many separate objects, they must each have a dominant colour which accords with those of the other objects, either by the dominant colours belonging to different tones of the same scale or by these colours contrasting with each other, which produces a more satisfactory effect.

The whole of these objects must detach themselves from the ground, which will generally be duller than they are, the