537. A _yellow bonnet_ suits a brunette very well, and receives with advantage violet or blue accessories. The hair must always interpose between the complexion and the head-dress. 538. It is the same with bonnets of an _orange_ colour, more or less broken, such as chamois, with which blue trimmings are eminently suitable. 539. A _green bonnet_ is suitable to fair and light rosy complexions, rose-red or white flowers are preferable to all others. 540. A _blue bonnet_ is only suitable to a fair or light-red complexion; nor can it be allied to such as have a tint of orange-brown. When it suits a brunette, it may take with advantage yellow or orange trimmings. 541. A _violet bonnet_ is always unsuitable to every complexion, since there are none to which the addition of yellow will be favourable. Yet, if we interpose between the violet and the skin, not only the hair, but also yellow accessories, a bonnet of this colour may become favourable. 542. Whenever the colour of a bonnet does not realize the intended effect, even when the complexion is separated from the head-dress by large masses of hair, it is advantageous to place between the latter and the bonnet certain accessories, such as ribbons, wreaths, and detached flowers, &c., of a colour complementary to that of the bonnet, as I have prescribed for the violet bonnet. The same colour must also be placed on the outside. ON THE ASSORTMENT OF COLOURS IN THE DRESS OF WOMEN WITH COPPER-COLOURED SKINS. 543. The tint of the complexions of the women of the North American Indian races is too positive to induce them to endeavour to dissimulate, either by lowering its tone, or by neutralizing it. There is, then, no alternative but heightening it, for which purpose we must use draperies either of white or of blue strongly inclining to green, when the tint will become of a redder orange. ON THE ASSORTMENT OF COLOURS IN THE DRESS OF WOMEN WITH BLACK OR OLIVE SKINS. 544. If I have prescribed the harmony of contrast of tone where the colour of the complexion is copper-red, there is a stronger reason for it when we have to drape olive or black skins; we can then use either white or the most brilliant colours, as red, orange, and yellow. The consideration of contrast determines which one we ought to choose in a particular case. If the complexion is intense black, dark olive, or greenish-black, red is preferable to every other colour; if the black is bluish, then orange is particularly suitable. Yellow will best accord with a violet-black. 545. _Results applicable to Portrait painting._ The tint may be heightened without leaving its scale:—