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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 naturally 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