A line under the eye will give it prominence. Too much prominence is not a desirable thing, especially about one's features. But the "juvenile" lady does not stop at black-eyeing. The lips have to be made to look kissable, so they are reddened to a delicately puckered-up appearance. The grand finale is a fair wig, in total rebellion to the two lovely black!
Then we have "the old head on young shoulders"--the young man who makes up his face as "the doctor" really very well, but forgets all about his legs. His half-bald wig is joined to a nicety; his eyebrows gummed on most artistically; the wrinkles are wonderfully, but not fearfully, made. A good figure-head! But his walk is that of a "two-year-old"; the cut of his clothes, the shape of his collar, are those of a fashionable dandy. He stopped short at making-up his head. He should have continued the process all over.
[Illustration: "OLD HEAD ON YOUNG SHOULDERS."]
The ways of producing whiskers, beards, or moustaches are of three kinds. They can be made by sewing hair on thin silk gauze, which fits the part of the face it is intended to decorate, and stuck on with spirit gum, or they can be made out of crêpe hair--a plaited, imitation hair--which, in deft fingers, may be made into shape. These, too, are held on to the face with spirit gum. The last method is to paint the hair on. The latter course is not recommended.
[Illustration: "THAT'S THE WAY TO GROW A MOUSTACHE, MY BOY."]
I remember once hearing a capital gag at the Gaiety Theatre on this whisker-spirit-gum question. I believe it was by Mr. E. W. Royce, and it was during the burlesque days of Edward Terry and Nelly Farren. Royce's moustache came off; he was supposed to have been driven on to the scene in a conveyance. He picked it up and proceeded to stick it on again, quietly remarking:--
"Dear me! I really must be moulting; Unless it is the carriage jolting!"
One of the most effective make-ups on the stage is that of the Jew--and the really marvellous change which may be obtained in three moves is well illustrated in this character. The face prepared and painted, the wig joined to the forehead with grease paint, the actor proceeds to put on his nose, again finding the spirit gum handy. Such stage noses are invariably made of wool, coloured to suit the complexion. The beard--which for such characters as these is always a ready-made one--is fastened to the face by means of wire over the ears. He shrugs his shoulders, opens his eyes, leers, and--there is the complete manufactured article.