| Tincture of orris root | 1 qt. |
| Rose water, triple | 1 qt. |
| Alcohol | 1 qt. |
| Oil of bitter almond | 75 grains. |
| Oil of neroli | 30 grains. |
[CHAPTER XXV.]
COSMETIC PERFUMERY.
In cosmetic perfumery, use is made chiefly of articles which serve to beautify some parts of the body by artificial means; for instance, to impart to pale cheeks a youthful freshness or to restore to prematurely gray hair its original appearance. In so far as the former object is attained also by the preparations discussed in Chapters XXI., XXII., XXIII., and XXIV., they likewise belong to the domain of cosmetic perfumery; for health and beauty are inseparably connected.
Though we have separated hygienic from cosmetic perfumery, we have done so only in order to draw the line between preparations whose regular use really improves the bodily health, and those which temporarily cover a defect of certain parts of the body.
Cosmetics may also be divided into several groups—those for beautifying the skin, as paints and toilet powders; and those for the care of the hair. The latter are subdivided into hair washes, hair dyes, so-called hair tonics, depilatories, and preparations for dressing the hair, i.e., for making it glossy and fixing it.
[CHAPTER XXVI.]
SKIN COSMETICS AND FACE LOTIONS.
The use of skin cosmetics and paints is of remote antiquity, but varies in different nations according to their civilization and their sense of beauty. While among certain Oriental nations dark blue rings around the eyes, with yellow lips and nails, pass for beautiful, the European prizes only a white skin with a delicate tinge of red; Italian ladies in the middle ages used the dark red juice of the fruit of the deadly night-shade as a paint, hence the name bella donna, i.e., beautiful lady. (According to Matthiolus, the name herba bella donna arose from the fact that Italian ladies used a distilled water of the plant as a cosmetic.) Owing to its marked effect on the eyes, by dilating the pupil and increasing the lustre, this juice also heightens the brilliancy of the eye, though at the expense of its health.
While in the last century face-painting was a universal fashion, it is nowadays resorted to only by persons whose skin requires some artificial help. But nobody desires that the cosmetic should be perceptible on the skin. Hence it must be laid down as a rule that paints and all cosmetics should be so compounded that it is not easily possible to the observer to recognize that some artificial means has been employed for beautifying the skin.