That the Romans agreed with the Greeks in giving the preference to light hair seems probable from the extensive importations of yellow German hair for the Roman ladies, as also from the fact that “Lucretius, when speaking of the false flatteries addressed to women, quotes one in illustration, namely, that a maiden with black hair is μελίχροος (honey-coloured)—thus ascribing to her a beauty which she does not possess.”
When the fair-haired Teuton overran the South a new motive for preferring blond hair arose, as a writer in the London Standard remarks: “Whatever the feeling of the men, we may be sure that the dark beauties of those climes felt a natural inclination to resemble the wives and daughters of the conqueror, and when we perceive their likenesses again, at the revival of art in Italy, not a black tress is to be seen. Is there a single Madonna not blond?—or ten portraits of women by the great masters? In all the gallery of Titian, we think only of a figure, naked to the waist, in the Uffizi, described as one of his mistresses.... But we know that the blond tint was artificial in a majority of cases—the deep black of eye and brow would show it if no evidence were forthcoming. But evidence turns up at every side ... a hundred recipes are found in memoirs, correspondence, and treatises of the time.”
Hear another witness: “Southern Europe,” says Mr. R. G. White, “is peopled with dark-skinned, dark-haired races, and the superior beauty of the blond type was recognised by the painters, who always, from the earliest days, represented angels as of that type. The Devil was painted black so much as a matter of course that his pictured appearance gave rise to a well-known proverb; ordinary mortals were represented as more or less dark; celestial people were white and golden-haired: whence the epithet ‘divinely fair.’”
And the poets were quite as partial as the artists to the light type. Petrarch’s sonnets are addressed to a blue-eyed Laura. Krimhild of the Nibelungenlied is blue-eyed, like Fricka, the Northern Juno, and Ingeborg of the Frithjof’s Saga, and the Danish princess Iolanthe, as Dr. Magnus points out; and in the French folk-songs “the girls are almost as invariably blond as in the songs of Heine,” as a writer in the Saturday Review (1878) remarks, adding that “there is even such an expression as aller en blonde, ‘to go a-wooing,’ which proves the universality of the belief in fair beauties.”
Concerning England, a writer in the Quarterly Review declares that Shakspere mentions black hair only twice throughout his plays; and that in the National Gallery of that date (1853) there was not a single female head with black hair.
BRUNETTE VERSUS BLONDE
Thus we have evidence showing that during the epoch preceding the general prevalence of Romantic Love, the blond type was considered the ideal of beauty throughout Europe—in Greece and Italy as well as in Germany, Scandinavia, France, and England. And where the hair was not naturally blond, artificial means were used to make it so.
But as soon as Love appears on the scene and sharpens the æsthetic sense, we find a reaction in favour of brunettes. There can be no doubt of this, for it is attested not only by personal opinions and observations, but by accurate statistics. The Quarterly Review just referred to believed that blondes were gradually decreasing in England, and the Saturday Review asserts that “some years ago Mr. Gladstone, whom nothing escapes, declared that light-haired people were far less numerous than in his youth. Many middle-aged persons will probably agree with him.” “The time was,” the writer adds, “when the black-haired, black-eyed girl of fiction was as dark of soul as of tresses, while the blue-eyed maiden’s character was of ‘heaven’s own colour.’ Thackeray damaged this tradition by invariably making his dark heroines nice, his fair heroines treacherous sirens.” Byron, we may add, also showed a passionate preference for brunettes; and does not another great love-poet, Moore, speak of “eyes of unholy blue”?
Speaking of the Germans, the anthropologist Waitz remarks that “the blond and red hair, the blue eyes and light complexion, which most of them had at the period of the Roman wars, have not disappeared, it is true, but certainly diminished greatly in frequency. In Jarrold we find the analogous statement that as late as the time of Henry VIII. red hair predominated in England, and that at the beginning of the fifteenth century gray eyes were more common, dark eyes and dark hair less common, than now.” As this change is correlated in both these countries with a gradual refinement of the features, does it not indicate that modern æsthetico-amorous selection favours the brunette type?
Waitz’s assertion regarding the gradual decrease in the number of blondes in Germany is strikingly confirmed by the results of a series of statistical investigations undertaken under the supervision of Professor Virchow. Almost eleven million school children were examined in Germany, Austria, Switzerland, and Belgium, and the results showed that Switzerland has only 11·10, Austria 19·79, and Germany 31·80 per cent of pure blondes. Thus the very country which, since the days of ancient Rome has been proverbially known as the home of yellow hair and blue eyes, has to-day only 32 pure blondes in a hundred; while the average of pure brunettes is already 14·05 per cent (and in some regions as high as 25 per cent). The 53·15 per cent of the mixed type are evidently being slowly transformed into pure brunettes, thanks to intermarriages with the neighbours who are of the dark variety east and west, as well as south of Germany.