The argument is most fascinating as an early debate on classic vs modern in painting; in essence on the mathematics of proportion and perspective in drawing—the classic approach— as opposed to the colored brush stroke—the approach of the moderns. In his detailed study of the argument, "Roger de Piles et les débats sur le coloris au siècle de Louis XIV" (1965), B. Teyssèdre gives a touching account of the "bohème" of the "modern" "réfusés" in seventeenth century Paris, a history that was to repeat itself with the Impressionists.