Evening star. [volume] (Washington, D.C.) 1854-1972, 1883-12-19
From tie New York Times.

rroIu ,Ie New OK lines.
They passed beautiful woman dressed with
direct and evident design of knocking out the
lilies of the field in the first round. She was
sitting in carriage; a beautiful cross-eyed pug
dog was by her side. and a cast-steel coachman
was on the box-seat. The lady-s face was no.
ticeable. 1t was white even as the image of
death. On each cheek was 4 brilliant red
botch, and under each eye was black line.
Her eyciashes were also black as the darkness
of Egypt. Her hair was Of the color that made
Laura OF Avgnon famous. but is now to be had
in bottles.
look at that woman" remarked the mana
ger. There is our subject
Il don't understand"
We'll SIR. she is made up That Is she is
painted and whitewashed and has cosmetic on
her eyes. She has made herself up with a desire
TO look pretty, but the result is that she looks
hideous. The reason is very simple: She
doesn't know how to make up IN Iay-tre There
are thousands of women going around New
YORK every day painted and powdered in way
that makes q clever actress laugh. The trouble
is this: They DO not realize that day makeup
and anight makeup should be altogether differ
ent. Any one can see that there is a difference
between "aslight and sunlight suppose Now
OF course All actress who is preparing to go on
the stage at night makes her face up to have a
certain appearance under certain condition
IL
CHASTITY sight when exposed to the glare of the
sun. She must make it very white TO neutraliZe
the effect of the yellow gasiight. Again, she
draws a black line under each eye. What for?
Why, because the footlights which shine I'D
from below destroy the shadow OF her lower
lashes and make the eye look fat So she makes
an artificial shadow with cosmetic, India ink, or
burnt cork.
The Gear ladies' in the front of the house
study all this through their opera glasses. They
go home. and tie next morning they come out
in the sunlight made up. They forget that the
Character Of the illumination to which they are
subjected is wholly different from that OF the
stage The light is hundred times as bright
as @aSifght and much whittier, and none of it
shines IN from below"
But have seen actresses looking the same
way i'll daytime"
so have /. and the more fools they. for they
ought to know better. / have seen others.
though who knew how to make upboth by day
and 10y night. | don't want to mention any
names, but the clevcrest of them all at this art
Is wOEan who is less distinguished by her
acting than by her writing. and less, perhaps.
by either than by her ability as painter
'But, remarked the student. people on
the stage do not always have to make up SO
as to look pretty. Sometimes they must as
sumo appearances totally different from their
proper countenance."
Now, my dear boy, You are coming down to
the soul of the art of making up. Few actors
know this art in its perfection. but all must
IL
few general ideas about it that may amuse YOU
The makeup of a man WHO has only to look
well is very simple. Dry powder to make the
lace white. Il dab of rome on the cheek. Il black
line under the eve and he is fixed. Of course
when a man Grows old and is still playing youth
full parts, he must spend more care over his
makeup. Ill order to conceal. as well as posi-
BILE the raya.reS of time. Now then well sup
pose that young man wants to appear as q
person OF. say. ID. Almost instinctiyely he de-
cideS upon brunette complexion. because it is
difficult for young man to look older in fiaXpn
hair lie begins by darkeniny his entire coun-
tenance-li he Is fairly means of the proper
tint of grease paint Then he puts plenty of
req ON his cheeks. carrying il well up around
tie corners Of the eyes and well down on the
jaw. Then. with stick of dark gray grease
paint. he Gespens the lines running from the
nose to the corners of the mouth and also the
lines running from the corners of the mouth
downward.
Remember, however that the individual char
acter OF the face must be considered There are
q hundred little touches that an artist can add
with great effect | never saw young man
more clever at this business than MIR. A. Wilkin-
son. formerly i'll the Standard theather comic
opera company He Wasquite young-nOt vet so
but, glltedwith peculiaryOice. he could make
up TO look any age from 10 upward with perfec-
ton. What was about to saw however was
that, for instance. the eyes may be little too
prominent for q man of 40. That is. they look
too fresh and bright. They can be made to ap-
under the broWs. on the lids, and also under the
eyes. The majority Of actors use gray but |
have observed that brown produces better and
more natural effect. The forehead may be too
large and white This can beremedied 10y touch
Ing in a few light wrinkles. The black wig is
then put on, and the general appearance is often
improved by putting a little white on the hair
above the temples, giving a tinge of gray. If
the young man still appears too youthful he can
add small side whiskers which will age him
considerably. andif they are not enough he can
wear full beard. which usually suffices.''
1.-The way in which young men men of IS
or 40 look old strikes me as being more remark
able
well. don't know that it is any more diff
cult than the production of the effect have Just
described. l can explain 1t to you. however
The actor whom have before mentioned played
In Patience the Major, and was most admira-
bly, made up. The greater portion of the effect
the fundamental wOrk-was produced with
brown grease paint. He laid III his entire face
with light coat of it. Then he made the color
darker all around the eyes and in the hollow OF
the Cheeks The cheeh-bOnc was brought out
with touch OF fesh-color on its prominent
part The lips we're let alone. They are gene
rally Redeemed little fora youthful appearance.
The wrinkles were marked in the usual way
and the brOwS and lasheS were made gray"
Now. NJ. Mezieres, who is a fine, stalWart man
or hard more than 40 years. with luxurant
head OF black hair and pair of handsome black
eyes, is another artist at making up. He is fire.
quelltlN seen as an Old man, ana Ills appear
aGce. aided by his movements. is truly
artistic. He makes up IN totally different
manner from that just described. He takes all
the l!te and color cut OF his face by profuse
distribution Of the white powder Then he
brings cat the portion of the cheeks running
down the side of the nose and mouth with
rouge. This. with heavy wrinkle drawn down
each SIDE. males his cheeks look fat and tiabby
The chI is Wrought out with rouge also The
usua wrinkles OF the forehead are put in very
lightly, ana also the crows feet at the corners
OF the eyes. One great popularity OF MeZeres'
m;;ke-up . the way he treats his eyes. Instead
OF sinking tHcm with dark paint he whitens
them. His cyeashes are made perfectly white
Under THIS treatment the eyes become lat and
small. MeZleres keeps them about half open,
and this Increases the deusIon. For the line Of
ylllaIn0Gs. cunning, lcentiOus old men which
he plays this makeup is simply perfect 1t
mates him an clfete old man, with leerng,
treachcrOus eyes"
- Do you think of any other remarkable in
stances o: making up:''
"Oh, there are plenty OF them to be seen
every day Not always the best actors are best
at 1t. Mr. Booths make up as King Lear is an
exceedingly good one, but think Mr.. Barrett's
wnen he played the part at Booths Theater
was much more striking. His effect was gained
however. by the use OF wig and beard made of
very fine quality Of fluffy gray HAIR Dear
dead-and-gone Harry Btckets makeup as Har-
vey Dun in the 'Shaughraun' was fine. and
Af rs aH fNa.a III