Now, this distinction, between the way in which the Florentines and the Venetians saw and represented objects, still appears in modern art. In fact, ever since the days of the great Italians there have been artists who relied on drawing and artists who relied on color. For over a hundred years the importance of drawing has been upheld by the great school of art in Paris maintained by the French government. One of its famous teachers, Ingres, used to tell his pupils “form is everything, color is nothing.” Perhaps he only meant by this that, as long as they were pupils, the only necessary thing for them to think about and learn to represent was form. Because to draw well is so important for any artist, and it is a thing that can be thoroughly taught and learned. The French school takes as its standard of excellence the perfect forms of classic sculpture and the great works of the Florentine artists. Although the student may be drawing from a living model whose form is not perfect, he is taught to correct the imperfections of this or that part, in order that the figure, as it appears in his drawing, may be as near as he can get it to classic perfection. But color, as we shall see presently, is so much a matter of each person’s feeling, that it is impossible to reduce the teaching of it to any method or standard. So perhaps that is what Ingres had in mind. He meant that, for the time being, his students should consider form to be everything, color nothing.