Detail 19 patches of color, similar to those above the just parallel to it. The veiled demesne of the topmost course, but denser, browner and watercolor as a whole is writ large there; rosier in tonality, and darker—a kind of at the same time it is as if Cezanne wanted to earthen median between the tapestry's com- mark the distance of the surface of the wall plicated Provencal color patterning and the from that of the textile, as well as from the faintly brushed surface of the upper zone of surface of the paper. wall (detail 21). At the left limit of that lower And perhaps he may have wanted to section of wall, where the wall behind the mark in some fashion the turning inside out tapestry seeks to meet the contour of the of line and color, so that each is seen as an tapestry's fall off the table, there is a curi- inversion of the other and the opposite of ously negative edge, a halo effect where the itself in its usual incarnation. Thus, the halo- pale overlay of strokes forming the wall stops ing of the tapestry by a kind of interstice, the just short of the right edge of the tapestry's transformation of its edge into an extended expanse of densely figurative, many-hued threshold that is made partly of bare paper, Detail 20 marks, forming a line of descent that runs produces an understanding of line, not as a n 3 PENCIL LINES AND WATERCOLORS