 One major querelle occurred in the seventeenth century between proponents of line and those of color, or between the Poussinists and Rubenists. For a long time, color had been disregarded, for at least three reasons: it is, in Charles Le Brun’s words, “but an accident produced by the reflection of light and that varies according to circumstances” (1672 [AT: 183]); it appeals to sensuality whereas “we must not judge by our senses alone but by reason” as Poussin puts it in a letter to Chantelou dated 24 November 1647 (AT: 69); and it proves unable to serve as a foundation for painting, unlike drawing, which is related to the mind (the original sense of disegno = drawing or design).