Detail 18 horizons that were not established first in covering over of the objects at the center of pencil. Building broad and narrow strips the sheet initially suggest. Much the same of color on top of one another, repeating the happens, with different colors and different horizontal line of the course in small, its degrees of complexity, in the horizontal golden color in violet and rose and pale courses of the bit of tower molding, where blue—including, toward the conclusion of the wall meets the floor in the southeast por- the process, a long patch of pale blue tion of the composition's geography—there smudged over the wainscoting band just to the dominant harmony is provided by a some- the right of the blue pot (detail 18), and what darker, thicker overlay of rose on ocher several horizontal marks beneath it a longer, with touches of blue and maroon; in the subtly wavering line of purple broken off border of the tapestry (or is it the sculpted and briefly begun again at the end—Cezanne molding of a chair or so fa?) at the bottom worked from the horizontal patch to the center, where banding borders on curvilinear thin line of color, rather than the other way patterning and gold perforated by white around. In other words, he quite literally leads into the denser polychromy of the tap- blurred the boundary between color tache estry (detail 19); and in the red stripe in and draftsmanly line, laying them side by the cloth in the western region of the paper, side and over one another so that the differ- where opaque red is laid over transparent ence between one and the other is seen red, grows a bit of blue line beneath it, and as a matter of thickness and thinness, trans- is finally touched by a pale mark similar lucency and opacity, the slightest distinction to the one found next to the blue pot (detail in emphasis between the faintest of light* 20). None of these thickened lines, stripes, refraction (pigment) and the most basic and bands has pencil lines beneath it; all have graph ism (line). partial colored lines laid over them. At the same time he reversed the order Between the two strips at the right lies of line and color that the roughing in and a region of layered, crosshatched, fringed 112 CEZANNE IN THE STUDIO