The view that the shadow portrait should remain a shadow always in black is held by one of the most prolific of all silhouettists, Edouart, whose work is fully described in the chapter on Freehand Scissor-work. In deploring the decline of the public taste for shadow portraiture, he says in his treatise on _Silhouette Likenesses_:—“As something was wanting to revive the expiring taste of the public for these black shades, some of the manufacturers introduced the system of bronzing the hair and dress. To what species of extravagant harlequinade this gave rise, the public is sufficiently aware. I cannot avoid making my observations concerning profile likenesses taken by patent machines, which possess sometimes all the various colours of the rainbow: for example, every day there is to be seen in the shops this kind of profile, with gold hair drawn on them, coral earrings, blue necklaces, white frills, green dress, and yellow waistband, etc. Is it not ridiculous to see such harlequinades? The face, being quite black, forms such a contrast that everyone looks like a negro! I cannot understand how persons can have so bad and, I may say, _a childish taste_! Very often those likenesses are brought to me to have copies made of them, and it is with the greatest trouble I am able to make them understand that it is quite unnatural; and that, taking a silhouette, which is the facsimile of a shade, it is unnecessary for its effect to bedizen it with colours. “I would not be surprised that by-and-by those negro faces will have blue or brown eyes, rosy lips and cheeks; which, I am sure, would have a more striking appearance for those who are fond of such _bigarrades_. “It must be observed that the representation of a shade can only be executed by an outline; that all that is in dress is only perceived by the outward delineation; consequently, all other inward additions produce a contrary effect of the appearance of a shade. “Here it may be said that every one has not the same taste; some like colour which others dislike; some find ugly what others find beautiful; and, in fact, _des gouts et colours on ne peut pas disputer_. But every artist or real connoisseur will allow with me that when nature is to be imitated, the least deviation from it destroys what is intended to be represented.” Edouart concludes with some severe remarks. “It is a pity that artists, in whatever line they profess, should give way to those fantastic whims, and execute works against all rules; for if they would employ their time in proper studies, and try to show the absurdity of encouraging whatever deviates from the true line of nature, they would improve themselves, and in time would derive greater benefit than in executing things which only bring scorn and ridicule from people of discernment.”