An historical guide to French interiors, furniture, decoration, woodwork, & allied arts during the last half of the seventeenth century, the whole of the eighteenth century, and the earlier part of the nineteenth . stry workers, hisidea being that the tapestriesshould be, as near as possible,exact reproductions of thepictures in tone and of the results of thiswas increased expense, thepainter, in getting his effects of colouring, nottroubling himself about ornot knowing the practicaldifficulties in the way ofexecuting his dreams ofcolour, and, although someof the new designs werecha
An historical guide to French interiors, furniture, decoration, woodwork, & allied arts during the last half of the seventeenth century, the whole of the eighteenth century, and the earlier part of the nineteenth . stry workers, hisidea being that the tapestriesshould be, as near as possible,exact reproductions of thepictures in tone and of the results of thiswas increased expense, thepainter, in getting his effects of colouring, nottroubling himself about ornot knowing the practicaldifficulties in the way ofexecuting his dreams ofcolour, and, although someof the new designs werecharming, the tapestry work-ers, in order to produce thedelicate effects, had to do so with soft and fugitive colours. Further, where the early weavers had contented themselves with nineteencolours, the eighteenth-century weavers had an assortment of a thousand colours, each sub-divided intotwelve shades from dark to light. The result was. that after a time some of the more delicate hues fadedaway altogether, thereby spoiling the effect. This brought the factory into disrepute. The older tapestries,however, are much prized, and fetch enormous, even fabulous, prices, but. of course, their colourings have
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectdecorationandornamen
