I have reminded you of the rhythm of atmosphere in Vermeer’s picture, because some people describe tone, as the result of fusing all the forms and colors into a whole by enveloping them in atmosphere. But I think, if you have followed our talks carefully, you will see that this use of the word tone is pretty much the same as the one we have arrived at. For you cannot see the effects of atmosphere except in relation to the coloring of nature. And I like our explanation better than this one, because it is broader, and therefore includes more. It includes, for example, all Japanese prints. Many of them exhibit no suggestion of atmosphere; yet they are always tonal in the sense that their colors are in perfect relation.