Let us imagine a picture that will illustrate this. But before we do so I must remind you that what we are talking about is color harmonies, and particularly those harmonies of color in which the modern artist delights. He learned them, as I have said, from Velasquez, who was debarred from using brilliant colors, he learned them also from the old pictures of the Dutchmen, like Vermeer; lastly he learned them from studying the pictures and prints of the Japanese. The effect of all these examples was to make him prefer subtlety to splendour.