Paint, number 8, Powder, number 18, 9. and 7, Lining Colors, and medium Moist Rouge for lips, and Brown Cosmetic with Melting Pan.

For an old woman, it will be necessary to get number 11, Grease Paint, number 11, Powder, number 7, 13, 10, 15, and 16 Liners. For old men, number 11, 12, Grease Paint, number 11, Powder, number 13, 10, 15, 7, and 16, Lining Colors. It is impossible to give more specific suggestions other than these definite types, as each individual will need some modification which you will learn from practice, observations, and experience.

For beards you will need crepe hair the color desired, spirit gum, and alcohol.

PROCESS.

Before beginning to make up see that your make-up table is clean and in order, with paper or cloth spread over it, and your materials laid out in order as you would need them. A good mirror and light is necessary --the light falling upon the face. The lights for the dressing rooms are best if combined, three amber globes to a white one. However, the dressing room light should correspond with that to be used on the stage for the play.

Always put on your make-up before dressing. Have a kimono, dressing sack, or a sack apron to slip on instead of the outer dress. The hair should not be dressed until the face is done, and it will be well to cover it with a cloth to protect it from the Grease Paint.

First rub the face and neck thoroughly with cold cream and wipe off carefully with a soft cloth. This protects your face from the make-up cleans the skin and makes a foundation for the Grease Paint. Now ap

ply the Grease Paint evenly and smoothly in the same manner as the cold cream. This is your body color and it is necessary to see that it is spread in every part of the face and neck, or you will be like the woman gossiped about in "School for Scandal;" you will have a modern face on an antique neck or an antique face. on a modern neck. It is important to have this ground color put on smooth, and even as all make-up afterwards goes on this foundation.

Now apply the color in using num. ber 14, 18 liners for the rouge. Put a dab on the cheek bone and begin by blending it with your fingers from that point out in all directions, taking care that the highest color is always on the cheek bone and is shaded imperceptibly into the ground color. You can shade the color best by putting it on in "washes," as in water colors. It is important that the color should not be solid and hard. For youth, the rouge should be blended high up with a tiny blush of color over the temples and down over the jaw bone on the neck. For older people the color is kept low. Be careful not to get the rouge in the eye socket unless you desire the appearance of weeping. After blending the rouge on the cheek, touch the chin and the tips of the ears, lightly with what color you have left on your fingers.

LIPS.

As the face appears over red, until the rouge is on the lips make up the lips next, in order to see if the color en the face is right. If you wish to retain the natural shape of the mouth just carefully cover the lips to their outer edge with number 14, 18, or moist rouge. Take great pains to cover the mouth evenly on both sides so it will not appear crooked. If

you wish to improve on nature, cover the lips carefully first with your ground color grease paint, then draw the line of the mouth with the rouge as good taste would indicate, taking pairs to keep the upper lips heavier and darker than the lower lips. Don't spread your mouth all over the face; and on the other hand the rosebud mouth, which is secured by putng on the rouge just on the center, is decidedly artificial, inane, and in very bad taste. Don't have the lips too wide at the corners. A tiny triangle of rouge placed just above the corners of the mouth will make a smiling appearance. To make the To make the mouth turn up, droop, or to enlarge it continue the rouge down and shade the mouth with the lining color used for shadow. A pout is helped by a hadow just below the lower lips.

EYES.

This is your most important feature and more time should be spent upon the eyes than the rest of the face. One need have no fear of injuring the eyes if the lining and grease paint are used properly. You should first accentuate the size of the eyes so that they will "carry" off the footlights, by using number 7, on the upper and lower lashes. Be very careful not to get the color on the edge of the lids. We do not advise using black liner on the eyes as it makes them appear very startling and most unnatural. Very dark people may like to use number 10, dark blue, better than brown. Outline the outer triangle of the eye, carrying it in from the lashes, by using the dauber or orange stick with number 7. For youth a fine effect can be had by lightly beading the eye. To do this melt the brown cosmetic in the melting pan furnished with the grease paint, over a candle, and with

an orange stick or a small longhandled paint brush, lightly brush the eyelashes until the color adheres to them. In lining the eye keep this important member oval rather than round, unless you desire "nobody home" eyes.

upper

The lid of the eye may be shaded with number 11, (special blue) if you are a blond to give brilliancy to the eyes, and to take away the shadow made from the footlights. Dark blue or purple may be used for the brunette. Put this shading under the arch of the eyebrow in the inner corner. Finish the eye with a tiny spot of red in the inner corner to emphasize the natural red spot in this corner. No color should be put on the eye lashes for past middle age, and very light lining for middle age. In old age use white liner number 15 on the eyelashes. For very old age a line of red should be put where the eyelash joins the eye.

EYEBROW.

Treat the eyebrow as the character demands, arched, firmly contracted, straight or they may be eliminated altogether by covering with foundation grease paint. The thin, arched eyebrow, which the foolish girls are paying to beauty specialists to make for them by "plucking," always gives a "nobody home" expression to the face. The ideal eyebrow is heaviest in the center, a little curved, with inner line heavier than outer. straight eyebrow indicates firmness and strength of character. A humerous touch may be secured by a little turn of the eyebrow, while an anxious worried look is helped by turning the inner ends of the eyebrows up. For middle age do not make-up the eyebrows, except to change their contour, while for old age whiten them as well as the eyelashes. A medium

The

bushy eyebrow can be made by rubbind the eyebrows the wrong way with a white liner number 15, or may be grizzled by the use of number 15, and number 7, applying first a touch of one and the touch of the other. Don't mix your white and black or you'll get a muddy dirty gray.

NOSE.

To change the shape of the nose, use nose-paste or some actors recommend, very highly, toupee-paste. Take a sufficient quantity of the paste, kread it roughly into the desired shape, warming if necessary to have it work easily. Wipe the part of the face where the paste should be applied and then fasten the paste to the face. No foundation grease paint should be put on until paste and beards are applied as they will not adhere well to the grease paint. Sometimes it is necessary to apply a little spirit gum to the face to make the paste stick. After the paste is in place mould it with the fingers or a modelling tool, until no juncture may be seen so that the paste becomes a part of the face. Now put

the ground foundation grease paint over the paste and on the entire face and neck.

Nose paste may be used to alter the shape of the nose either by mak ing the bridge more prominent, the end of the nose longer, or the nostrils fuller, in fact, changing its entire shape and size. The check bones may be built out, and additions and changes made to the chin in this way. We may imitate unpleasant growths, such as warts and moles.

A bold line of white down the bridge of the nose will make it look straighter and longer. A slight shadow line on the bridge of the nose between the eyes will bring them closer together.

AGE.

This is the most difficult task for young people, who usually appear on the amateur stage with a few black lines and a beard stuck on to a most youthful face. You must first have a picture, or visualize with your imagination that you may have a clear idea of how you wish your face to look. Cover the face and neck with the foundation grease paint, then put the wig in place, if you are to wear one. Bring the point of the wig over the ears in place first and then pull the rest of the wig in place and smooth and mold it to the head, being careful to cover all your own hair and pull it well down behind. The foundation grease paint should cover the edges of the wig so that the join is invisible.

Mix num

Now for the shadows. ber 12, or 13 with a little blue, (number 9,) in the palm of the left hand and pit in the shadows with this mixture for sunken cheeks, temples, and around the eyes, and blend the edges well with your fingers. Make your face look as much like your character as possible and put in the shadows with the same mixture of grease paint, using the fingers. Small lines around the eye and on the brows may be made with the dauber or orange stick. The places for these lines may be found by squinting your eyes and wrinkling your brow. Never use black for lining. The throat and hands should be made up in the same way. Better simulation of old age is obtained by shadows, rather than lines, and the fingers are a much better instrument than the tooth pick.

WIGS AND BEARDS.

It is difficult to find a wig which will look natural unless it is specially made for the person and for

the particular character. So it is So it is wiser to dress your own hair in character. Use corn starch, the men may find white grease paint effective for graying the hair.

It is better to put on a beard with crepe hair rather than use one of the awful monstrosities sent from cheap costume houses. Only fine wig makers can produce beards, made on gauze, which will look at all natural. Each character should have a beard made to character which would be expensive.

Take the crepe hair, the color desired, cut into length desired and comb it out with a moistened comb. Put the hair then, betwen the leaves of a book to dry and straighten out. Moisten the face with spirit gum, and gum small pieces of hair into place, bit by bit, the thickness of natural growth. Then trim the beard and comb it into the form and shape wanted. Such a beard if well trimmed is very realistic, and may be made at little cost.

POWDERING.

When the make-up is all in place after all changes have been made powder the face with the color of powder needed dusting the powder on very thick, and with a very light touch so as not to disturb the color underneath. Use a down powder puff, never a wool one, taking care not to rub in the powder. One may then finish dressing, comb the hair, and the last thing, dust the excess powder off with the baby brush, taking care to get the eyebrows, eyelashes, lips, etc., free from powder.

The powder must be put on last-for it is difficult to remove or change make-up after it is on. It is easy to change, rub out, and put on with the grease paint.

REMOVING THE MAKE-UP.

Take off clothes and put on dressing gown again. First remove the wig, then moustache and then the beard, false nose and any modeling in relief. If these things are removed carefully they may be preserved and used repeatedly. A little alcohol will cleanse the face from the spirit gum. Then wash the face in cold cream, rubbing in thoroughly and remove with soft cloth. Cream must be applied two or three times until every trace of paint has disappeared. Put a little cream on the cloth and wipe carefully around the eye, so as not to get cold cream into that organ. Warm water and pure castile soap will take all grease from the face.

Make-up is only to be used before the footlights, and we are sorry to

see

our young girls ruining their ideals, character, and complexions by using such artificial means in real glorious sunlight, or at evening par

ties. In our high dry atmosphere even powder is very detrimental to the skin, so that very good soap, and excellent cold creams are needed to keep the skin in good condition. Girls, use every means in your power to beautify yourself, with care and whelseome thought for your face. but rise above the shams used by women of the underworld, and which deceive no one. You are known and judged by your face.

The advent of the two Hunters into London a century and three quarters ago marks an epoch in the history of medicine and surgery, and especially of anatomy.

The Hunters of Hunterston in Ayrshire were a very old Scotch a very old Scotch family; the Hunters of Long Calderwood in Lanarkshire were a younger branch of the same family. John Hunter, son of John Hunter, was born in 1728. He was the youngest of a family of ten children, most of whom died in early life.

The parents were good canny Scots above the average of intellect, but not noted for anything unusual. They embraced in their character all those homely virtues attributed to the thrifty Sotchman in all times and all places.

William Hunter was born in 1718. He was therefore ten years senior to John. His acquaintance with Cullen directed his mind to the medical profession. Without much training he shared a meager country practice with his friend at Hamilton and in 1740 we find him attending the anatomy lectures of Alexander Monroe at Glasgow. In the summer of 1741 he set his face toward London, the great Mecca for men of ambition from the Scottish moors, even to the present

time.

He became assistant to Dr. John Douglas, and entered as a surgeon's pupil at St. Georges Hospital, which was then only seven years old.

William Hunter became a famous lecturer on anatomy, a great collector of anatomical specimens both living and dead, and there is no doubt that he adopted the method in his work

which John Hunter carried on to perfection, and which made him the most noted man of his time.

William Hunter rapidly rose to the highest rank as medical and surgical practitioner. Considering the opposition among the cultured profession of London to this rugged Scotchman, and especially considering the wonderful array of medical and surgical talent of that particular period, it was no small feat to rise to high rank without anything but his native pluck, and his daring method to back him. John Hunter, who was the youngest of the family is described as a blubbering, big, over indulged boy, crying like a baby at everything which stood between him and his momentary desire. He drifted about apparently with no aim in life, and seemed to his over-anxious mother to present a real problem, which she had no idea how to solve.

William sent for him to come to London, and started him forthwith in his dissecting laboratory. Here the rugged young Celt discovered himself, and rose by steady degrees to be the greatest anatomist of his or

any

other time, and one of the greatest surgeons the world has known.

We can imagine these two canny Scots going up against the great cultured London world to seek their fortune. London was possible for John Hunter only because his more refined brother William had preceded him.

There is a certain homely charm about the domestic relations of the Hunter family as we gather it from their copious correspondence. They called each other Willie, and Jamie,