From the middle of the century on, the use of black and white seems temporarily to be in decline while that of blue and green is on the rise (but this is only a preliminary impression that is in need of further supporting evidence). During the sixteenth century, it will be noticed that the most daring combinations of color in dress, already mentioned above, have for the largest part disappeared, just at the same time as art is attempting to circumvent the naive contrast of primary colors. For the artists of the Burgundian regions the sense of the harmony of colors does not come from Italy. Gerard David, who stiffly continues to work precisely in the style of the older school, does display, in comparison to his predecessors, a refinement of his sense of color that demonstrates that this sense is related in its development to the general shaping of the mind. Here we encounter a field where investigations into the history of art and culture still have much to expect of each other.