 When he translates Du Fresnoy’s De Arte Graphica (1668) and publishes his Dialogue upon Coloring (1673), art critic Roger de Piles may appear to hold stronger views; however, by transferring emphasis from color to coloring, he too stresses the importance of harmony and the way it presupposes mastery of local color and chiaroscuro. When de Piles entered the Academy three decades later, he would produce a synthesis under the title Principles of Painting (1708), in which he insists that 