It seems to me that the more finely a color is ground, the more it is saturated by oil. Now we’re not over-fond of oil, that goes without saying. If we painted like Monsieur Gérôme and the other trompe-l’oeil photographic ones, we’d no doubt ask for colors ground very fine. We, on the contrary, don’t strongly object to the canvas having a rough look. So if instead of having the color ground on the stone for God knows how many hours, we grind it just long enough to make it workable, without bothering too much about the fineness of the grain, we’d have colors that were fresher, perhaps darkening less