against that other great sign of a more complicated life, the love for cosmetics. No longer is a lady of fashion blamed if, to escape the outrageous persecution of time, she fly for sanctuary to the toilet-table; and if a damosel, prying in her mirror, be sure that with brush and pigment she can trick herself into more charm, we are not angry. Indeed, why should we ever have been? Surely it is laudable, this wish to make fair the ugly and overtop fairness, and no wonder that within the last five years the trade of the makers of cosmetics has increased immoderately—twentyfold, so one of these makers has said to me. We need but walk down any modish street and peer into the little broughams that flit past, or (in Thackeray's phrase) under the bonnet of any woman we meet, to see over how wide a kingdom rouge reigns. We men, who, from Juvenal down to that discourteous painter of whom Lord Chesterfield tells us, have especially shown a dislike of cosmetics, are quite yielding; and there are, I fancy, many such husbands as he who, suddenly realising that his wife was painted, bad her sternly, “Go up and take it all off,” and, on her reappearance, bad her with increasing sternness, “Go up and put it all on again.”
But now that the use of pigments is becoming general, and most women are not so young as they are painted, it may be asked curiously how the prejudice ever came into being. Indeed, it is hard to trace folly, for that it is inconsequent, to its start; and perhaps it savours too much of reason to suggest that the prejudice was due to the tristful confusion man has made of soul and surface. Through trusting so keenly to the detection of the one by keeping watch upon the other, and by force of the thousand errors following, he has come to think of surface even as the reverse of soul. He supposes that every clown beneath his paintand lip-salve is moribund and knows it, (though in verity, I am told, clowns are as cheerful
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