And the reason is obvious. Artists, like all other white persons, have adopted a theory respecting the distinctive features of Negro physiognomy. We have heard many white persons say, that ‘Negroes look all alike,’ and that they could not distinguish between the old and the young. They associate with the Negro face, high cheek bones, distended nostril, depressed nose, thick lips, and retreating foreheads. This theory impressed strongly upon the mind of an artist exercises a powerful influence over his pencil, and very naturally leads him to distort and exaggerate those peculiarities, even when they scarcely exist in the original. The temptation to make the likeness of the Negro, rather than of the man, is very strong; and often leads the artist, as well as the player ‘to overstep the modesty of nature.’

Men of all conditions may see themselves as others see them. What was once the exclusive luxury of the rich and great is now within reach of all. The humbled servant girl whose income is but a few shillings per week may now possess a more perfect likeness of herself than noble ladies and court royalty, with all its precious treasures could purchase fifty years ago.