Throughout the Middle Ages and the Renaissance, a miscellanea of musicians and artists pictured an art figure that would harvester colour and healthy. Rudolph of St. Trond, a dreamer of the advanced 11th century, claimed that the modes of gregorian chant could be identified next to the past Greek modes and that some could be allied with fastidious flag. In his notational system, the Dorian fashion was to be scrivened in red, the Phrygian way in green, the Lydian mode in yellowish and the Mixolydian in purple. The Milanese theoriser Franchino Gaffurio reintroduced this thought in the 15th time period. Gaffurio further related the colors and modes with the Greek humors.
Vincent of Beauvais, the mediaeval journalist of a career called Great Mirror, unsuccessful to lucubrate upon Aristotle's artistic relative color-music ratios. However, Beauvais believed that lone 7 colours could substantiate proportions that would seem amiable to the eye. This resulted in a diverse color-chord consonant rhyme. Beauvais incidental pink to the pleasing ordinal and buoyant untested to the melodious 4th.