The color scheme as it was originally conceived is of great significance in cultural history as it not only accented or subdued the spaces in-between but also helped in identifying the workshops that built churches in Northeastern France and Western Germany and the direction in which stylistic influences travelled both geographically and in time. Restoration work in 1976-77 revealed that the original color scheme (which was pink with white for the spaces between the blocks of stone) and was completed before 1283, was altered in the 14th century to give greater prominence to the structural members. The restoration of 1931 did not attempt a return to the original because, supposedly, our sensibilities had changed so that the medieval preferences for brighter colors and sharp contrasts were then deemed in need of toning down. In contrast, more recent restoration work, e.g., the interior of the Limburg Cathedral, now tries to come closer to the original concepts. The article details the sequence of layers of paint that were discovered, their composition, thickness, and state of preservation and the techniques used in stripping away the newer coats.