Various elaborate make-up boxes of tin are on the market, but any small box will answer. The one that always accompanies me on my travels is an antique case of oak, and was no doubt used for generations as a receptacle for jewels. It has but one tray, which has sufficient space for the reception of the various paints. The lower part is reserved for crepe hair, powder and the other requisites.
CHAPTER V
ON APPLYING THE MATERIAL
The actual work of making up must fall under the two headings of Form and Colour. We will consider first
COLOUR
The colour of a man's skin, or his complexion, may be indicative of his nationality or race. For example, consider the distinctive colourings of the English, Italians, Japanese, Indians, or Africans. It may suggest his age. For youth has its own peculiar freshness; the healthy meridian of life is florid, while pallor comes with old age. We may also vividly realise temperament from the tint of the skin. The sad, the morbid, and the mean are usually sallow; the happy and generous, brilliantly hued. Trades and professions also dye their followers to their liking. The monk is bleached in the cloister, the soldier or sailor is browned by the sun and wind.
Having decided on the complexion that will be characteristic of a given part, we mix and apply the paint. Are we to present an English soldier back from a foreign campaign No. 3 grease-paint, mixed with a little 13, will yield exactly the sunburnt hue that we desire. We must remember though that the upper part of the forehead has been protected from the sun's rays by his helmet, and so a distinct line of light flesh will remain. No. 2-1/2 will do for this.
A mixture of 2-1/2, yellow and a little brown will provide suitable pallidness. Such as we might imagine would be characteristic of the miser.