ensemble of the type with black hair, as with the other type; yet it may produce a good effect, and advantageously receive accessories of white, red, rose, orange, and yellow.

(717.) A white bonnet gives rise to the same remarks as those which have been made concerning its use in connection with the blonde type (710.), except that for brunettes it is better to give the preference to trimmings of red, rose, orange, and also yellow, rather than to blue.

(718.) Bonnets of pink, red, and cerise, are suitable for brunettes, when the hair separates as much as possible the bonnet from the complexion. White feathers accord well with red; and white flowers with abundance of leaves have a good effect with rose.

(719.) A yellow bonnet suits a brunette very well, and receives with advantage violet or blue trimmings; the hair must always interpose between the complexion and the headdress.

(720.) It is the same with bonnets of an orange colour more or less broken, such as chamois. Blue trimmings are eminently suitable with orange and its shades.

(721.) A green bonnet is suitable to fair and light rosy complexions; rose, red, or white flowers are preferable to all

others.

(722.) A blue bonnet is only suitable to a fair or light red complexion; nor can it be allied to such as have a tint of orange-brown. When it suits a brunette, it may take with advantage yellow or orange trimmings.

(723.) A violet bonnet is always unsuitable to every_complexion, since there are none which yellow will suit. Yet if we interpose between the violet and the skin not only the hair, but also yellow accessories, a bonnet of this colour may become favourable.

(724.) Whenever the colour of a bonnet does not realise the intended effect, even when the complexion is separated from the head-dress by large masses of hair, it is advantageous to place between the latter and the bonnet certain accessories, such as ribbons, wreaths, or detached flowers, &c.,

of a colour complementary to that of the bonnet, as I have prescribed for the violet bonnet (723.); the same colour must also be placed on the outside of the bonnet.

§ 2.

ON THE ASSORTMENT OF COLOURS IN THE DRESS OF WOMEN WITH COPPER-COLOURED SKINS.

(725.) The tints of the complexions of the women of the North American Indian races is too positive to induce them to endeavour to dissimulate, either by lowering its tone or by neutralising it. There is then no alternative but in heightening it; for which purpose we must use draperies either of white or of blue strongly inclining to green; then the tint will become of a redder orange.

§ 3.

ON THE ASSORTMENT OF COLOURS IN THE DRESS OF WOMEN WITH BLACK OR OLIVE SKINS.

(726.) If I have prescribed the harmony of contrast of tone where the colour of the complexion is copper-red, there is a stronger reason for it when we come to drape olive or black skins; then we can use either white or the most brilliant colours, such as red, orange, and yellow. The consideration of contrast determines which one we ought to choose in a particular case. If the complexion be intense black, or dark olive, or greenish-black, red is preferable to every other colour; if the black be bluish, then orange is particularly suitable. Yellow will best accord with a violet-black.

Results applicable to Portrait Painting.

(727.) I have said above (351.) that the portrait painter must endeavour to find the predominating colour in the complexion of his models, in order that he may enhance it by means of the accessories; and I have added that there are some brown skins, as well as copper-coloured and orange

also, belonging however to the white race, which are susceptible of being represented in a portrait with more success than is generally supposed. It is evident that the facts exhibited in this Chapter give the painter the means of obtaining, not only the result I have mentioned, but also the opposite result, if he considers it more suitable to neutralise, or at least to lower, a complexion, instead of seeking to exalt it; I shall sum up the results of these facts, by the supposition where he intends to heighten the tint, and by that where he wishes to neutralise it.

1ST SUPPOSITION.-The Painter wishes to heighten the Tint of a Complexion.

(728.) In this supposition, two cases are to be distinguished; that in which all the colours the eye perceives in the model are those of its different parts, modified only by mutual juxtaposition, and not by the coloured rays emanating from one of them and reflected upon the others,and the case where the colours of the different parts are modified by their juxtaposition, and by the coloured rays emanating from the one and reflected upon the others.

1ST CASE. THE SPECTATOR ONLY SEES THE COLOURS MODIFIED BY THEIR JUXTAPOSITION.

A. Heightening the tint without going out of its scale.
1o. Is effected by a white drapery, which heightens by
contrast of tone.

2°. Is affected by a drapery the colour of which is
exactly the complementary of the tint, and of
which the tone is not too high.

Such as, perhaps, a green drapery for a rosy complexion.

Such as, perhaps, a blue drapery for the orange complexion of a blonde.

B. Heightening the tint by making it go out of its scale.

1o. Is effected by a green drapery of a light tone upon an orange complexion.

2o. Is effected by a blue drapery of a light tone, upon a rosy complexion.

3°. Is effected by a yellow, canary, or straw-coloured drapery upon an orange complexion, of which the complementary violet neutralises some of the yellow of the complexion, and heightens its

rose.

2ND CASE. THE SPECTATOR SEES SIMULTANEOUSLY THE COLOURS MODIFIED BY JUXTAPOSITION AND BY REFLECTION.

The modifications resulting from the juxtaposition of parts diversely coloured, are much more positive than those arising from the mixture of the colour reflected by one part of a model upon another.

2ND SUPPOSITION.-The Painter wishes to dissimulate a Tint of the Complexion.

(729.) As in the preceding, he must distinguish two

cases:

1ST CASE. THE SPECTATOR SEES THE COLOURS MODIFIED BY JUXTAPOSITION ONLY.

A. Lowering the tint without going out of its scale.
1o. Is effected by a black drapery which lowers it by
contrast of tone.

2o. Is effected by a drapery of the same scale as that
of the tint, but of a much higher tone.

Such, perhaps, as a reh drapery upon a rosy complexion.

Such, perhaps, as an orange drapery upon an orange-tinted complexion.

Such, perhaps, as the effect of a dark green drapery on a complexion of a green tint.

B. Lowering the tint by going out of its scale.

1o. Is effected by a green drapery of a very deep tone upon an orange complexion.

2o. Is effected by a blue drapery of a deep tone upon a rosy complexion.

3o. Is effected by a very deep yellow drapery upon a very pale-orange complexion.

2ND CASE. THE SPECTATOR SEES SIMULTANEOUSLY THE COLOURS MODIFIED BY JUXTAPOSITION AND BY REFLECTION.

The modifications resulting from the juxtaposition of parts diversely coloured, are generally greater than those which arise from the mixture of a colour reflected from one part of a model upon another.

(730.) I have now pointed out to the painter what he may hope for from the employment of white, black, and coloured draperies in modifying the complexion in a definite manner. I have attained my aim, if I am not deceived, in the effects which I have attributed to each of these draperies; but it is the artist's duty to choose the effect which will be most suitable in any particular case. If there is no difficulty when assorting colours with the complexions of the coloured races, comprised in the second or third division (681.), since he can always have recourse to a harmony of contrast more or less strong, it is otherwise when he seeks to combine colours with the complexions of the white race. For the varieties which are placed between the two extreme types we have distinguished, and which unite them to each other by insensible shades, are causes why the artist can only estimate the harmony most suitable to such of the varieties which he is employing as a model. Consequently, it is for him to judge if the dominant tint of a complexion must be exalted or diminished, either integrally, or in one of its elementary colours, or whether it must be altogether neutralised. It is for him to see, in the case where he wishes to weaken it, if this is best done by means of drapery of a darker tone, and thus to form a harmony of contrast of scale or of hue; or else if, on the contrary, it is preferable to attain the same end by opposing to this tint a drapery of its complementary colour, taken at a sufficiently high tone to produce the double effect of weakening by contrast of tone, and at the same time to produce a contrast of colour with that portion of the tint which is not neutralised.