He explored the ramifications of the concept at book-length in 1839, intending to form a comprehensive theory for all the visual arts. It offered design principles for tapestries, carpets, furniture, mosaics, churches, museums, apartments, formal gardens, theaters, maps, typography, framing, stained glass, women's clothing, and even military uniforms. It is most noted, however, for its influence on Impressionist and Neo-Impressionist painting, particularly the Pointillist style developed by Georges Seurat and Paul Signac, which featured tiny juxtapositions of complementary colors. Camille Pissarro reported that he had interviewed Seurat, who had described the style as a search for "the modern synthesis with scientifically based means which will be founded on the theory of colors discovered by M. Chevreul and in accordance with the experiments of Maxwell and the measurements of N. O. Rood."