CONTENTS.
Chapter I. Theatrical Wigs.—The Style and Form of Theatrical Wigs and Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for Measuring the Head. To put on a Wig properly.
Chapter II. Theatrical Beards.—How to fashion a Beard out of Crêpe Hair. How to make Beards of Wool. The growth of Beard simulated.
Chapter III. The Make-up.—A successful Character Mask, and how to make it. Perspiration during performance, how removed.
Chapter IV. The Make-up Box.—Grease Paints. Grease Paints in Sticks; Flesh Cream; Face Powder; How to use Face Powder as a Liquid Cream; The various shades of Face Powder. Water Cosmétique. Nose Putty. Court Plaster. Cocoa Butter. Crêpe Hair and Prepared Wool. Grenadine. Dorin's Rouge. "Old Man's" Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. Eyebrow Pencils. Artist's Stomps. Powder Puffs. Hare's Feet. Camel's-hair Brushes.
Chapter V. The Features and their Treatment.—The Eyes: Blindness. The Eyelids. The Eyebrows: How to paint out an eyebrow or mustache; How to paste on eyebrows; How to regulate bushy eyebrows. The Eyelashes: To alter the appearance of the eyes. The Ears. The Nose: A Roman nose; How to use the nose putty; a pug nose; an African nose; a large nose apparently reduced in size. The Mouth and Lips: a juvenile mouth; an old mouth; a sensuous mouth; a satirical mouth; a one-sided mouth; a merry mouth; a sullen mouth. The Teeth. The Neck, Arms, Hands and Finger-nails: Finger-nails lengthened. Wrinkles: Friendliness and Sullenness indicated by wrinkles. Shading. A Starving Character. A Cut in the Face. A Thin Face made Fleshy.
Chapter VI. Typical Character Masks.—The Make-up for Youth: Dimpled Cheeks. Manhood. Middle Age. Making up as a Drunkard: One method; another method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Macbeth. Richelieu. Statuary. Clowns.
Chapter VII. Special Hints to Ladies.—The Make-up. Theatrical Wigs and Hair Goods.
☞ Copies of the above will be mailed, post-paid, to any address, on receipt of the annexed prices. ☜
HAROLD ROORBACH, Publisher, 9 Murray St., New York.
Transcriber's notes:
The following is a list of changes made to the original. The first line is the original line, the second the corrected one.
author. Threatrical Managers wishing to produce it should apply to
author. Theatrical Managers wishing to produce it should apply to
James Reed, a friend of Darrah's, H. C. Lewis.
James Read, a friend of Darrah's, H. C. Lewis.
and played by Reed. Officer in Act IV, by Violinist.
and played by Read. Officer in Act IV, by Violinist.
life would be beset by the harrassing knowledge of being surrounded
life would be beset by the harassing knowledge of being surrounded
I'll let the precious booty remain in it's hiding place until I
I'll let the precious booty remain in its hiding place until I
Daisy. Oh, Mr. Wheeler, I forgot----(percieves Deacon) Oh!
Daisy. Oh, Mr. Wheeler, I forgot----(perceives Deacon) Oh!
(dicks up pin; conceals bent part, displaying point) Daisy nebber
(picks up pin; conceals bent part, displaying point) Daisy nebber
Graef. (interrrupting her, grasps her by shoulder and anxiously
Graef. (interrupting her, grasps her by shoulder and anxiously
Miss A. I fear your are a flatterer. Now, you don't think I'm
Miss A. I fear you are a flatterer. Now, you don't think I'm
Miss A. That will do, Daisy. You are are a nice, well-behaved
Miss A. That will do, Daisy. You are a nice, well-behaved
this morning than I did last night before I obtained you consent
this morning than I did last night before I obtained your consent
Officer. (seizing Wheeler from behind) George Darrah, I ar-
Officer. (seizing Wheeler from behind) George Darrah, I arrest