St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1885-02-17
ROYCE AND LILY WHITE.
Just The very Latest Capri ia the DecOTn-
tiOn OF the Face.
CLARA Relle IN Cincinnati Ennuirar

Just the very Latest CGperin the DecoTu-
lion OF the Face.
! Clara Belle in Cincinnati Enquirer
The era of grease paint seems to have be-
| gun with this winters balls. That is to say,
the kind Of facial painting that actresses do
! is now done by ball room bellies Every one,
amateur or professional, in appearing before
public audience is, to some extent made
up. 1t may not be to represent a character,
as in a play but to prevent the gbastiness
otherwise given to person under a glare Of
| light, especially the footlights, which resem-
! bles, only more so, the cadagcrous look one
wears passing the reflected water jars Of a
druggists window.
The conditions of a bright ball room are
essentially the same Our women seem 10
| think they should make up, slightly at least,
if they wish to avoid that pallid, frightened,
drawn, old appearance, and obvate
its disagreeabe effects upon the spec
tators. 1t is not only un-
becoming, but unnecessary; as Shakespeare
says, ''Lether paint an inch thick, y for with
a ready and delicate Judgment the most re-
| fined can preserve her own facial appearance
SO closely as not to betray to the seyerest
scrutiny the means she may apply. | have
posted myself on grease paints and their ac-
| companying liquid preparations for the
hands and arms. The most obvious adgant-
age of grease paints is that they are not SEN
sibly affected by the perspiration Of the ardU-
GUS waltz.
GREASE PAINTS
do not fail in so hazardous a manner, for
perspiration oozes through them and can be
easily dabbled from the brows with a hand
kerchief. 1t might be necessary to slightly
reapply the finishing powder, but this is 4
very simple matter for the ante-room. An
other consideration in favor Of grease paints
is their harmonious blending qualities The
| flesh and shadow tones readily mingle, even
to the finest tint, with mperceptible soft
ness Don't get the idea that blanc perl
faces, saucer eyes and deep ruby lips, like
fashion forms in dry goods windows are in
vogue. More artistic touches only are tOlcr-
ated. Great dizziness is the only means Of
success in this matter.
The proper place and blending of the
rouge on the face is a special point. To adj
just to contours of the face, the shape Of the
checks, to know how TO color tue different
parts OF the face according to its natural
form and outline and to make it something
different in every different character, .e-
| quires the highest skill and Judgment
"A WELL FORMED FACE
! would be improperly painted if rouge be APP
piled from the eyes down too far, even if the
complexion be so colnred by nature. If the
| face is too hollow or thin put more red on
| those parts fallen in the further back the
rouge the larger and fuller the checks. Put
dark red high on high check homes and
lighter red in front of them; dark red on all
! projecting points and lighter red on the
sunken places.
| If the face is too full and plump do not
put too light a red on it, Tor rouge, but
rather a dark red to make it appear smaller.
Put the rouge near the nostris, and do not
extend it too near the cheek bones. This
makes the face even smaller or thinner. To
make a large nose smaller extend the
rouge from the cheeks ON to the sides
of the nose, but not too much.
On the contrary, a small nose can be appar-
emily increased by keeping the rouge further
from it. To still further increase the appar-
ent size, take lighter flesh color than is put
on the face, and varying the width from an
eighth to a quarter of an inch, make 4 stripe
down the sides of the nostrils Tone down
the edges of these bands, and blend them
lightly TO the
COLOR OF TIE CHEEKS.
The natural form of eyebrow is so shaped. or
sized, that generally something is required
in some way.
The shape of a beautiful brow for classical
type is the small, slender, arched character,
to allow the eve to lie open freely. 1t COM
mences at the bridge OF the nostrils lightly
and SHINY; it wideus at the center of the
eye, and dimnishes toward the hollow of the
temple, as observance of the paintings of re-
nowned masters will show.
Ia the makeup OF the mouth the flesh
color must not touch the corners of the lips,
if any change is to he made In its cundrma-
zion. If it is not of good form, the mouth
can be changed in shape. You can paint it
narrower if too broad by nature or if certain
effects be desired this is done by extending
the flesh color on the lips and rouging them
after that.
Reverse effects are produced by charging
the mouth with color Give the lips a center
point beneath the nostris, and make each
side from that in graceful curve.
A slight touch of rouge to the chin gives 4
fresh, blooming appearance.
A STRANGE CAREER