 According to Goodman and Gombrich, resemblance theories of depiction depend on the mistaken assumption that visual perceptions result from a process of interpreting two-dimensional patterns of raw colour, without any intrinsic meaning, which artists are trained to observe and record. Psychologists such as Hermann von Helmholtz, artists such as Claude Monet, and art theorists such as John Ruskin embraced a theory of painting of this kind. For instance, the passage by Ruskin from which Gombrich took the phrase “innocent eye” reads as follows: