The artists of the Middle Ages had never had the idea to totally color a façade of height of 70 meters on 50 meters wide, like that of Notre Dame of Paris. But on these great surfaces they have adopted a coloring team. Therefore, at Notre Dame de Paris, the three portals with embrasures were painted and gilded in full, the four niches that unite these portals, containing four colossal statues, were also painted. Above the kings’ gallery, it forms a broad line colored and gilded. Above this line, the painting was only covering the great arcade with windows, the area under the towers that shone gilded. The top part, lost into the atmosphere, it was left in the stone tone. Examining this facade, it is easy to realize the splendid effect that the team was supposed to produce in so perfectly accordance with the architectural composition. In this coloration an important role comes to the black, which features wide redrawn figures arranged in a true sense of forms. Black intervened here as a retouch of the master; to remove coldness and dryness, often only serves to double the range of a red brown feature. "
The emergence of golden and black as the main colored elements is characteristic here. Neutral tones, sweetened, in full agreement with the sky and with light. This mode so rational, survived the Gothic architecture. We find it in the town hall square in Brussels and similarly used in Anvers, in the town hall and the surrounding buildings. On their facades intervenes only the gold under form of reliefs; It also blends delicately with the almost black tone of the stone, bringing on its matt color its brilliant glow film.