turally have a bluish tint, add very delicate touches of
purple--so delicate in fact as hardly to be perceived. The roots of
the hair at the forehead should also be touched with blue, and the
eyebrows near the temples made of a pinkish tint.

The chin of a woman is nearly of the same color as the cheeks in the
most glowing parts. In men it is stronger, and of a bluish tint, in
order to produce the effect given by the beard.

In portraits of women--the middle tints on the side of the light, which
are perceived on the bosom and arms, are made of a slight mixture of
ochre, blue and lake, (or carmine), to which add, on the shaded sides,
ochre, bistre and purple, the latter in the darker parts. The tints of
the hands should be the same as the other parts of the flesh, the ends
of the fingers being a little pinkish and the nails of a violet hue.
If any portion of the fleshy parts is shaded by portions of the dress,
or by the position of the hand, this shade should be colored with umber
mixed with purple.

TO COLOR THE DRAPERY.--Violet Velvet--Use purple made of Prussian blue
and carmine, touching up the shaded parts with indigo blue.

Green Velvet--Mix Prussian blue and red-orpiment, shade with purple,
and touch up the lights with a little white.

Red Velvet--Mix a very little brown with carmine, shading with purple,
marking the lights in the strongest parts with pure carmine, and touch
the most brilliant slightly with white.

White Feathers--May be improved by delicately touching the shaded parts
with a little blue mixed with white. White muslin, linen, lace, satin,
silk, etc., may also be colored in the same way, being careful not to
lay the color on too heavily.

FURS--Red Furs may be imitated by using light red and a little
masticot, shaded with umber. Gray Furs--black and white mixed and
shaded with bistre. Sable--white shaded lightly with yellow ochre.

These few directions are quite sufficient for the art, and it is quite
unnecessary for me to pursue the subject further. I would, however,
remark that the Daguerreotypists would find it greatly to their
advantage to visit the studies of our best artists, our public
galleries of paintings, and statuary, and wherever else they can obtain
a sight of fine paintings, and study the various styles of coloring,
attitudes, folds of drapery and other points of the art. In coloring
Daguerreotypes, artists will find the magnifying glass of much
advantage in detectin