Morning journal and courier., 1882-04-25

| Not so bad as when he makes up for
 corpse, however. I'll never forget the frs l glance I had at my face after it had beer
 made up for 'Gaston's' death scene, when playing the Man in the Iron Mask in '62.
 It positively appalled, me, sir, and I lay l awake all that night thinking of it, and dreamed of myself in a coffin for a month afterward." :"
 "How is it done ?"
 ''Well, it varies slightly. You see such characters as ear, Virginius Werner and Beverley are before the audience some time before they actually die, and, therefore, their faces can't be made so very corpse-like; but Matthias in The Bells, Louis XI., Gaston and Danny Mann are discovered dying when the scene opens, or are brought in dead, so that their faces can be made extreme. For the last series the face and neck should be spread with prepared white, and afterWard touched up with Dutch pink to give it iYid hue in places Then put deep shading of powdered antimony under the eyebrows and well into the hollow of the eye, on the cheeks, throat and temples This is very effective, as it gives the face that dreadfully sunken ap- pearance as in death. The sides of the nose and over the upper lip should also be darken- ed, and the lips powdered blue Then the face will look about as dead as it would three hours after a real death"
 'In the make up of grotesque faces do they use raise noses ana cnlnS =
 Very rarely. Usually the method is to stick some wool on the nose with gum and mould it in whatever shape you will then powder and paint it as you would the natural nose for comedy parts. Paste is put on with gum, instead of wool, sometimes. Clowns have to fairly encase themselves with whiting, and they find this trouble enough without building up noses or cheeks Grotesque ar tists have to work hard with their faces as a 1,,A4 Il, l ing neat points. Many of our best Dutch and Irish comedians owe their first lift to 8 lucky makeup"
 'I suppose there are types for the repre- sentation of different nationalities ?'
 Well, a gentleman is usually made up the same. no matter where he may be supposed to belong but the caricature is usually one of the well known make ups. Frenchman has to be powdered with dark rouge, and has his eyebrows blackened with India ink All dark characters, as mulattoes, creoles, Span iards, and so on, are done with whiting and dark rouge, with plenty of burnt cork and umber."
 ''Is much work necessary on the hands?"
 ''In witches it is of great importance that the hands and arms should be skinny and bony. This IS usually done by liberal pow dering of Dutch pink. and painting in be tween the knuckles with burnt umber Paint ing between the knuckles, you see, makes them look large and bony But this sounds q good deal like ancient history, now, does it not? The art is falling into disuse, my boy and I've no doubt that the times not far of when we shall have youngsters playing old men with signs on their back reading Please, sir, I'm 80 years old, while their faces are as fresh as daisies
 ''To what do you attribute this tendency?' ?''
 ''Laziness. The theatrical age of to-day is a profound wonder to me. The entire pro- fession wants to star. An actor plays old man now simply for living. while he ma lures his plans for his contemplated starring tour. An actress does old women, heavies, or juveniles, only until she can find capitalist who will enable her to star, and none of them seem to take any pride in the minor parts. Hence they don't take the trouble to make up artistically. and the stage is robbed of it's chief charm-realism."
 He had buttoned his coat with great nicety, tipped his hat trifie further for ard, and after hearty hand shake left the reporter and strode jauntily up Broadway, his shining hat bobbing with automatic regularity above the Easter bonnets, until lost to view in the crowd.