g, and are intended
more as hints to Daguerrean artists, in hopes of leading them to
attempt improvements, than as instructions wholly to be observed.

The writer is confident that some compound or ingredient may yet be
discovered which, when mixed with the colors, will give a more
delicate, pleasing, and natural appearance to the picture than is
derived from the present mode of laying them on, which in his
estimation is more like plastering than coloring.

IN COLORING DAGUERREOTYPES, the principal shades of the head are to be
made with bistre, mixed with burnt sienna, touching some places with a
mixture of carmine and indigo. The flesh tints are produced by the use
of light red, deepened towards the shaded parts with yellow ochre, blue
and carmine mixed with indigo, while the warmer, or more highly colored
parts have a slight excess of carmine or lake. Color the shades about
the mouth and neck with yellow ochre, blue, and a very little carmine,
heightening the color of the lips with carmine and light red, letting
the light red predominate on the upper, and the carmine on the lower
lip; the shades in the corner of the mouth being touched slightly with
burnt sienna, mixed with carmine.

In coloring the eyes, the artist will of course be guided by nature,
observing a very delicate touch in laying on the colors, so as to
preserve as much transparency as possible. A slight touch of
blue--ultramarine would be best if it would adhere to the Daguerreotype
plate--in the whites of the eye near the iris, will produce a good
effect.

In coloring the heads of men it will be necessary to use the darker
tints with more freedom, according to the complexion of the sitter.
For women, the warmer tints should predominate, and in order to give
that transparency so universal with the softer sex--and which gives so
much loveliness and beauty to the face--a little white may be
judiciously intermingled with the red tints about the lighter portions
of the face.

In taking a picture of a lady with light or auburn hair, by the
Daguerrean process, much of the beauty of the face is destroyed, on
account of the imperfect manner in which light conveys the image of
light objects to the spectrum of the camera. This may be obviated in
some measure by proper coloring. To do this, touch the shaded parts
with burnt sienna and bistre, filling up the lighter portions with
yellow ochre, delicate touches of burnt sienna, and in those parts
which na