FIG. 12.-Female portraits. a, Negro (W. Africa); b, Barolong (S. Africa); c, Hottentot; d, Gilyak (N. Asia); e, Japanese;f, Colorado Indian (N. America),

g, English.

inhabitants as having no noses at all, but breathing through holes in their faces. By pushing the tips of our own noses upward, we can in some degree imitate the manner in which various other races, notably the negro, show the opening of the nostrils in full face. Our thin, close-fitting lips, differ in the extreme from those of the

negro, well seen in the portrait (Fig. 13) of Jacob Wainwright, Livingstone's faithful boy. We cannot imitate the negro lip by mere pouting, but must push the edges up and down with the fingers to show more of the inner lip. The expression of the human face, on which intelligence and feeling write themselves in visible characters, requires an artist's training to understand and describe. The mere

contour of the features, as taken by photography in an unchanging attitude, has delicate characters which we appreciate by long experience in studying faces, but which elude exact description or measurement. With the purpose of calling attention to some well-marked peculiarities of the human face in different races, a small group of female faces (Fig. 12) is here given, all young, and such as would be considered among their own people as at least moderately

FIG 14.-Section of negro skin, much magnified (after Kölliker). a, dermis, or true skin; b, c, rete mucosum; d, epidermis, or scarf-skin.

handsome. Setting aside hair and complexion, there is still enough difference in the actual outline of the features to distinguish the Negro, Kafir, Hottentot, Tatar, Japanese, and North American faces from the English face below.

The colour of the skin, that important mark of race, may be best understood by looking at the darkest variety. The dark hue of the negro does not lie so deep as the innermost

or true skin, which is substantially alike among all races of mankind. The seat of the colouring is well shown in Fig. 14, a highly magnified section of the skin of a negro. Here a shows the surface of the true skin with its papillæ; this is covered by the mucous layer, the innermost cells of which (b) are deeply coloured by small grains of black or brown pigment, the colour shading down to brownish or yellowish toward the outer surface of this mucous layer (c), while even the outside scarf-skin (d) is slightly tinged. The negro, in spite of his name, is not black, but deep brown, and even this darkest hue does not appear at the beginning of life, for the new-born negro child is reddish brown, soon becoming slaty grey, and then darkening. Nor does the darkest tint ever extend over the negro's whole body, but his soles and palms are brown. When Blumenbach, the anthropologist, saw Kemble play Othello (made up in the usual way, with blackened face and black gloves, to represent a negro) he complained that the whole illusion was spoilt for him when the actor opened his hands. The brown races, such as the native Americans, have the colouring of the skin in a less degree than the Africans, and with them also it is not till some time after birth that the full depth of complexion is reached. The colouring of the dark races appears to be similar in nature to the temporary freckling and sun-burning of the fair white race. Also, Europeans have permanent dark colouring in some portions of the skin, though not exposed to the sun; the areola of the breast, for instance; while in certain affections, known by the medical name of melanism, patches closely resembling negro skin appear on the body. On the whole it seems that the distinction of colour, from the fairest Englishman to the darkest African, has no hard and fast lines, but varies gradually from one tint to another. It is instructive to notice that there occur

in the various races certain individuals in whom the colouring matter of the skin is wanting, the so-called albinos. The contrast between their morbid whiteness and any ordinary fairness of complexion is most remarkable in the negro albinos (to call them by this self-contradictory term), who have the well-known African features, but in dead white, as it were a cast of a negro in plaster.

The natural hue of skin farthest from that of the negro is the complexion of the fair race of Northern Europe, of which perfect types are to be met with in Scandinavia, North Germany, and England. In such fair or blonde people the almost transparent skin has its pink tinge by showing the small blood-vessels through it. In the nations of Southern Europe, such as Italians and Spaniards, the browner complexion to some extent hides this red, which among darker peoples in other quarters of the world ceases to be discernible. Thus the difference between light and dark races is well observed in their blushing, which is caused by the rush of hot red blood into the vessels near the surface of the body. Albinos shows this with the utmost intenseness, not only a general glow appearing, but the patches of colour being clearly marked out. The blush, vivid through the blonde skin of the Dane, is more obscurely seen in the Spanish brunette; but in the darkbrown Peruvian, or the yet blacker African, though a hand or a thermometer put to the cheek will detect the blush by its heat, the somewhat increased depth of colour is hardly perceptible to the eye. The contrary effect, paleness, caused by retreat of blood from the surface, is in like manner masked by dark tints of skin.

As a character of race, the colour of the skin has from ancient times been reckoned the most distinctive of all. The Egyptian painters, three or four thousand years ago