Morning journal and courier., 1882-04-25
From the New York Sun l

Hands.
 From the New York Sun
 A man, whose large face was creased by innumerable expressive lines, leaned with studied negligence against post on Union Square and gazed at passers-by with an ar of legitimate and well bred interest He had a strikingly ''professional' look and wore his clothes, which were ultra a-fashionable in TT, with a jaunty carelessness that ignored the whitened seams and denied the shining back His tall silk hat was tipped at an angle over his eyes. He looked contented and loqua- cious, and very much like an actor Pres ently, when an acquaintance passed, he coughed, nodded rapidly looked extremely waggish, and said
 "Ah, there? What are you up to- you ras- cal? How d do 7"
 ''Why, hullo, Billy When did you get n?"
 'Just now, my boy"
 ''How was the walking:"
 ''Ah, there, you rascal :" and Billy burst into bland and meaning smile and gently shook his head lis friend went on, and he turned to the reporter and said in 6 full, round, oratorical tone
 Would you oblige me with light, sir Thank you. The boys will have their little jokes, you know-the rascals The obvious meaning from his question was that I had walked in. Our combination went to pieces in Ohio, but we all got here comfortably, though we left many other weecks behind The number of busted companies between here and the one-night towns of Ohio would draw tears from c cast-iron Shylock. However I'm back, and tell you. sir, it does me good to look at Broadway again '
 Yes the spring fashions make it bright"
 ''It isn't the fashions it's the faces To my mind it Is the most absorbing study in the world-that of mems faces. You see, the thing has more interest for me than for the Of iy1rr I'm an enthusiast in certain sense I be- long to the time when the study and make up of faces was mighty important in the theatrical line It wasn't such long time ago, either; but the times have changed since then, until there seems to be almost no effort at all to make up and look your part. I never saw this more amazingly apparent than when I got in last night l went in to 'Odette' at Dalys, and saw Harry Pitt, who Is an actor of experi- ence, slap the audience, so to speak, square in the face. In the first act he is the injured husband and father, and looks about 42 years old. By the time the next act is reached if teen years are supposed to have elapsed, which were full of bitterness and torture to him; but he comes bouncing on the stage looking about forty instead of fifty. seven years old. Of course all the unities are far red, and the piece intrins1cally injured, and simply because he won't make up The vice is spreading. Actors won't disguise their good looks for a part Does McCullough's Virginius look like an aged Roman father? No, he looks like what he is, magnifcently matured man in the prime of life. Lester Wallack never makes up or slaves off his darling moustache, no matter what the part, | and Tearle is always Tearle"
 Ut must be a great deal of trouble to make up every night"
 'Ah, but, me boy, look at the result Go down to the Thalia Theatre where they still l do it, and if only five years have elapsed be- l tween the acts see how it is shown on every | face on the stage"
 | ''It is difficult to make up well, is it not ?n 'Well, no, " said the actor, lighting fresh | cigar and assuming more confidential pose l the rules simple enough, and with lit 1 tie practice, almost any amateur could learn | to make up artistically if he has any eye for effect. Some parts, like Romeo, Charles l Surface, Sidney Darrell and Claude Alelnotte, l require very little make up for young and good looking actor. The face and neck should be thoroughly covered with white | powder, and the cheek bones and chin lightly 1 touched with rouge, which should not be too red, Then, as the lover ought to look hand | some, he should draw a fine black line under | his lower eyelashes with a camel hair brush and burnt amber. This makes the eyes bril- | liant. I'm sure it isn't much trouble to make 1 up that way"
 l ''Otnef characters are nafuer, though. | "Oh, immeasureably so. But to make a maturer man, like Cassie, Iago, Mercutio, | John Mildmay, or Hawksley, it requires only | a little more work After the actor has laid l on the powder and roughed his face pretty | heavily-for men are commonly rather red | faced-he must take his brush and umber and l trace some lines from the outer corner of the | eyes, and outer lines down towards the cor | ners of the mouth from tue nose. In short, | he must make the crows feet that are visi- | ble in all men who have lived over thirty l years in this tantalzing world of ours. Then the chin should be touched with little blue powder, which makes it look as if recently shaved. These precautions will make the most juvenile face look mature, If he has to go further and look like old age, as in such characters as Lear, Virginius-for, as I said l before, Nirginius was an old man-ltiChelieu, Sir Peter Teazle, and on, more work is | necessary. Heavy false eyebrows must be | pasted on, and the eye hollow darkened and fairly crowded with lines Wrinkles must
 be painted a TOSS the foreheaG, furrows down
 the cheeks, downward lines from the corners
 of the mouth and Every important three
 or four heavy wrinkles painted around the neck to give it the shrivelled appearance con-
 mon to old age The hollow over the upper lip should be darkened, and also the hollow l under the lower lip. This gives the mouth l the pinched and toothless look A little pow 1 dered antimony on. the cheeks makes them
 look fallen in and Bhrunken. Then tone the
 face down with delicate coating of peal
 powder, and you'll have as old looking man
 as you'd care to see.''
 'How does 1t all feel ?''
 "At first your face feels frightened, and the
 muscles don't play easy, but after few
 grimacss it comes all right. It's a great re-
 lief to get it off, however, after three hours
 work"
 "It must cause rather mournful forecasts,
 when man looks on his own face made up
 for the age of, say 80 years?"