,,portrait ,,biographies ,,henry ,,irving ,,by ,,mortimer ,,menpes ,containing #h delicate pencil and tint portraits4 ,foolscap #hvo1 cloth1 gilt top4 ,price #bs4 net4 7,post free1 price #bs4 #c;d47 ,mr4 ,mortimer ,menpes has produced a little book entitled ',henry ,irving1' which is as dainty and graceful as could be imagined4444 ,it is a gossipy little appreciation of the great actor1 enlivened by some excellent stories1 and embellished with twelve portraits in colour from the brush of the artist-author4 ,artistically 'got up1' admirably printed1 and unconventionally arranged1 it is an addition to ',irvingana' which none of the admirers of 'the chief' would willingly have absent from their shelves4--,standard4 ,a4 ,,and ,c4 ,,black1 ,,soho ,,square1 ,,london1 ,w4 ,,the ,,art ,,of ,,theatrical ,,make-,,up ,,agents ,,america ,,the ,,macmillan ,,company #fd #ff ,,fifth ,,avenue1 ,,new ,,york ,,australasia ,,the ,,oxford ,,university ,,press1 #bje ,,flinders ,,lane1 ,,melbourne ,,canada ,,the ,,macmillan ,,company ,,of ,,canada1 ,,ltd4 #bg ,,richmond ,,street ,,west1 ,,toronto ,,india ,,macmillan ,,company1 ,,ltd4 ,,macmillan ,,building1 ,,bombay #cji ,,bow ,,bazaar ,,street1 ,,calcutta ,illustration ,,the ,,art ,,of ,,theatrical ,,make-,,up ,,by ,,cavendish ,,morton ,,illustrated ,,with ,,thirty-,,two ,,reproductions ,,from ,,photographs ,,of ,,the ,,author ,,by ,,himself ,illustration ,,london ,,adam ,,and ,,charles ,,black #aiji ,,reproduced ,,and ,,printed ,,by ,,ballantyne ,,and ,,co4 ,,ltd41 ,,tavistock ,,street1 ,,london1 ,w4,c4 ,,preface ,looking back on the method of production of this book1 it seems to me not to have been so much a matter of toil as a natural growth4 ,it seems to have produced itself1 for my earliest photographs were taken as records of the different characters that ,i played4 ,these studies1 as they were published from time to time in the ,sketch1 ,tatler1 ,playgoer and other papers1 aroused a certain amount of interest4 ,frequent requests from brother actors for me to help them with their make-ups convinced me that my instruction was desired4 ,as the material accumulated1 ,i constantly heard the suggestion reiterated1 ,make a book of it4 ,a profound interest in psychology1 physiognomy1 or characterisation1 the art of the stage1 and photography1 has enabled me to study the subject from different standpoints1 and to gain an entirely individual impression of it4 ,many years spent on the stage in1 among others1 ,sir ,herbert ,beerbohm ,tree's1 ,mr4 ,forbes ,robertson's1 and ,sir ,charles ,wyndham's companies1 the privilege of watching ,sir ,henry ,irving1 ,sir ,herbert1 ,charles ,warner1 ,franklin ,mc,leay1 and ,m4 de ,max making up1 and1 in some instances1 hearing their methods of work explained1 has supplemented the knowledge gained by my own experience4 ,,contents ,,chapter ,,page ,i4 ,,the ,,art ,,of ,,the ,,stage #a ,,ii4 ,,on ,,designing ,,the ,,character #d ,,iii4 ,,the ,,illustrations #h ,,iv4 ,,the ,,material #ab ,v4 ,,on ,,applying ,,the ,,material #af ,,vi4 ,,form #ai ,,vii4 ,,preparing ,,to ,,make ,,up #bb ,,viii4 ,,on ,,removing ,,the ,,make-,,up #bf ,,ix4 ,,in ,,conclusion #bh ,,illustrations 7,for list see page ix7 #cj ,,list ,,of ,,illustrations ,the ,author ,frontispiece ,,page ,,king ,,lear #ce ,,king ,,lear 7progressive pictures7 #ch ,,don ,,quixote #da ,don ,quixote 7progressive pictures7 #dd ,,falstaff #dg ,,falstaff 7progressive pictures7 #ej ,,shylock #ec ,,shylock 7progressive pictures7 #ef ,,hamlet #fj ,,hamlet #fa ,,iago #ff ,,othello #fg ,,bottom ,,the ,,weaver #gg ,,pierrot #hj ,,romeo #hc ,,the ,,apothecary ,,in ,,romeo ,,and ,,juliet #hi ,,the ,,apothecary 7head study7 #ib ,,the ,,three ,,witches ,,in ,,macbeth #ie ,,uncle ,,tom #ih ,,st4 ,,dunstan #aja ,,fleury #ajd ,,the ,,professor #aji ,,the ,,soul ,,struggle #aab ,,sir ,,thomas ,,more 7,holbein picture7 #aah ,,sir ,,thomas ,,more #aai ,,sir ,,thomas ,,more ,,in ,,his ,,garden ,,at ,,chelse #abd ,,sir ,,thomas ,,more ,,bidding ,,farewell ,,to ,,his ,,favourite ,,daughter #abe ,,napoleon #abi ,,false ,,beards 7twelve progressive pictures7 #acb1 #acc1 and #acf ,,chapter ,i ,,the ,,art ,,of ,,the ,,stage ,how ephemeral is this art of the stage1 how evanescent4 ,words quickened by the voices of the actors tremble for a moment in the sympathetic atmosphere of the theatre and are then engulfed in silence4 ,this in its turn gives way to newly spoken words4 ,out of the illustrative gestures and actions of the players are pictures formed which each new phase of the unfolding of the play destroys4 ,joy gives place to grief1 and grief to joy1 gentleness to rage1 and love to hate4 ,the passions wax and wane4 ,the scenes fade even as the lantern pictures vanish from the white screen4 ,the curtain rustles down1 severing those bonds of sympathy that the play has forged4 ,actors and audience turn away to pick up the links in their own particular chains of destiny4 ,how ephemeral1 how evanescent4 ,yet that universal law of compensation yields its recompense3 for no art is more enduring in its influence4 ,most men are so profoundly impressed by the drama that the recollection of a performance will abide for years2 indeed some are so sensitive to its effect that their whole lives are coloured or are even changed by the sensation created by one fine bit of acting4 ,that the art of the theatre should be so persuasive is in no way strange1 for it makes a joint appeal through the portals of two senses simultaneously4 ,the eye and ear alike are charmed4 ,in this joint appeal lies the very essence of the theatrical4 ,the actor by the heat of his passions fuses picture and poem4 ,dumb poetry and petrified graphic art come to life4 ,like an electrode the actor stands collecting the currents of dramatic beauty that pervade the world1 and discharges them into the tense atmosphere of the theatre4 ,it is the player's duty not only to lend life to the part that he plays1 he should present the character in such a way that the spirit of each member of his audience moves in accord with it4 ,if his appeal is strong it will weld the minds of his individual spectators into a kind of composite intelligence4 ,i once saw a concave reflector made of small pieces of flat looking glass4 ,these tiny mirrors multiplied the light placed in front a thousandfold4 ,to the actor a well-crowded theatre should seem just such a reflection4 ,in the mind of each member of his audience1 should he1 as in a glass1 be mirrored4 ,this unanimity of emotion is brought about by presenting certain physical and mental facts relative to character in such a way that they may be grasped by a number of variously constituted people4 ,a play is woven of a warp-like plot running from beginning to end of the composition1 constituting its chief strength2 and woof-like characterisations which wend their way in and out through the plot binding it together and filling in gaps with the subsidiary interest of nicely contrasted types4 ,the character as it leaves the playwright's hand is a broadly outlined drawing4 ,the subtleties of manner and expression and those slight but significant inflections of voice are the creation of the actor4 ,he vitalises the lines with his spirit4 ,i have often thought that the appeal to the brain through the sense of seeing is stronger than that through the sense of hearing4 ,i have been brought to this conclusion by the fact that people are deeply moved by the contemplation of a play in a language that they are totally ignorant of1 or by the dumb show of a pantomime4 ,is not half the battle won when one perfectly physically realises the character to be impersonated8 ,to assist in this half of the conflict this book was written4 ,,chapter ,,ii ,,on ,,designing ,,the ,,character ,let us suppose that you have read the play1 you know what the plot is about1 and the part has been given to you to study4 ,perhaps the author describes the peculiarities of the character1 or it is traditional to make up for the part in a given way4 ,failing help in either of these directions you must rely upon your own imagination4 ,read the part through1 trying to think of the character as distinct from yourself4 ,pretend that you are listening to the words spoken by another4 ,decide what kind of a man would say such words and behave in such a manner4 ,what are his moral and mental characteristics8 ,visualise him1 think of him not as an element of the play but as one who on his journey through life has been accidentally involved in the dramatic conflict4 ,get acquainted with him1 try to know something of his past life1 for time and experience will have left their marks upon him4 ,this fiction once designed1 the next task is to see how it will fit4 ,study yourself with a view to finding out what traits you have in common with the character4 ,note the qualities that must be accentuated and those that must be subdued4 ,alter the character of your face by changing the expression of your mouth and eyes4 ,always remember that as little paint should be used as possible1 for though it is easy to disguise by a thick mask of pigment1 the heavier the make-up the more difficult it is to convey sensitive emotional variations by the changing expression of the face4 ,if it is possible to arrange your own hair in a way suitable to the character so much the better1 for though it may in no way seem more real than a wig it will prove infinitely more comfortable4 ,i remember before ,m4 de ,max played l',aiglon1 he stayed in the house for weeks while his dark locks were slowly dyed a brilliant red4 ,on the night following the production he told me disgustedly that people had criticised his wig4 ,when you look as much like the part as you possibly can without the aid of artificial disguise1 begin to apply nose paste1 paint and powder4 ,obliterate one characteristic and accentuate another4 ,alter the shape of your nose1 paint your eyebrows out and redraw them1 altering their form4 ,change the colour of the skin4 ,cover eyelashes and lips with paint and note the difference4 ,put shadows round the eyes1 sinister lines running from the nostrils4 ,wrinkle your face1 and where the lines would naturally come apply the paint4 ,add a roughly shaped beard or moustache of crepe hair if the character demands it4 ,stand at a distance from the mirror1 study the result4 ,this work is similar to that of the painter when he makes preliminary sketches1 it helps to get one's ideas into a concrete form4 ,it should be done over and over again until the character is perfectly developed4 ,if a wig is required1 discuss it with the best wig-maker that you can find4 ,should you be able to draw supply him with a rough sketch4 ,failing this you will probably be able to find an illustration or an engraving which1 though it may not be exactly what you want1 will help you to explain your idea4 ,i have made a large collection of different engravings of interesting types1 and the work of the old caricaturists ,i have found very suggestive4 ,visit the wig-maker two or three times before the wig is completed1 it will then be made under your direct supervision and will probably be more successful in every way4 ,remember that the character of a face depends on three elemental qualities1 form1 colour and expression4 ,the first two are almost constant1 the third is susceptible to perpetual change4 ,the grave1 the gay1 the ascetic1 the debauched1 the sthetic1 the philistine1 the spiritual and the material1 each will have his distinguishing colour and form4 ,the expression will depend much on the various moods portrayed during the action of the play4 ,make the characterisation as definite as possible1 for the size of the stage demands a certain breadth of treatment4 ,do not forget the distant patron of the pit and gallery1 for though his monetary contribution is humble he atones for this by the warmth of his enthusiasm4 ,if the result of these preliminary efforts seem discouraging1 remember a good wig and suitable costume will help materially4 ,,chapter ,,iii ,,the ,,illustrations ,in making all the pictures in the book studies of my own head ,i was actuated by a number of reasons4 ,the first and most important of which was the possibility of showing what a wide variety of distinctive types could be realised with the help of make-up by one man4 ,if the book had been illustrated by a number of pictures of various actors1 the student would have had to make in each instance certain allowances for the individuality of each performer4 ,my desire was to present only one face under different disguises4 ,i was also influenced by the fact that my own face was the one that was ever nearest to my hand--the one ,i was most familiar with1 and also the one that ,i could take the greatest number of liberties with4 ,another reason was1 that as the photographer who was to produce the prints1 ,i could always depend upon the attendance of the model4 ,i was sure that ,i could always induce myself to patiently pose before my own camera4 ,the taking of the photographs has been fraught with considerable difficulty4 ,the playing of the dual rle of actor and photographer seems to have cultivated two distinct personalities--personalities who ,i am sure felt the liveliest interest one for the other2 in fact nothing ever came between us but the camera4 ,i am moved less by pride than by a desire for sympathy when ,i say that single-handed ,i did every detail of the work4 ,sometimes it was necessary to photograph one character nine times over before a suitable negative was obtained4 ,can you imagine the feelings of ,othello or ,king ,lear who1 after having worked up to the most intense moment of the play1 paused rigidly before the camera1 that it might do the worst1 then on retiring to the dim ruby light of the dark room1 still made up remember1 to wrestle with the difficulties of development1 found that when the negative was finished it was a failure and would have to be done again4 ,i feel a great debt of gratitude to ,sir ,herbert ,beerbohm ,tree1 ,mr4 ,charles ,warner1 ,mr4 ,r4 ,g4 ,knowles1 ,mr4 ,carton1 ,more-,park1 and many other actors and painters who have unfailingly encouraged me with the bounty of their interest and their expressions of willingness to assist me with the work4 ,i can best express the admiration ,i feel for the work of my friend ,m4 ,gustav by calling attention to the perfection of the wigs that appear in the following prints4 ,i believe that he has brought wig-making to a pitch never realised before4 ,much of the effectiveness of my impersonations is in no small measure due to his sympathy and skill4 ,i selected for my illustrations1 in most cases extreme types2 sometimes presented in a more or less exaggerated manner4 ,i felt that thus ,i might cover a wide area and make the book the more suggestive4 ,the student will find but little difficulty in modifying a character1 or if he requires only certain features1 in selecting them4 ,or he may combine certain peculiarities of one make-up with the peculiarities of another1 and thus produce an additional type4 ,many of the characters slightly modified will prove valuable as studies for modern personalities4 ,with the exception of those prints where the make-up is shown in progressive stages ,i have striven to exhibit the character under the stress of one of the most emotional moments of the play1 illuminated in a manner that would be desirable to its stage presentation4 ,i have done this because ,i felt that a character was essentially a medium of emotional expression1 and that by presenting them in this way the sensitiveness and flexibility of the characterisation might be better realised4 ,or in other words1 that the disguise in no way impaired the ability to show a great variety of facial expressions4 ,when ,i originally contemplated the work ,i feared that it would be difficult to get a sufficient number of contrasted types to make the book interesting1 but ,i found1 once under way1 there was literally no end to the quaint creatures that clamoured to be noticed4 ,it became a hard matter to select1 and ,i have only introduced to the public a few of the odd personalities ,i have grown so intimately acquainted with4 ,each has been to me a living creature1 who was able to let me see the world from his peculiar standpoint4 ,i had such an impulse in the work1 that at one time ,i felt that ,i should not be able to rest until ,i had exhausted all human creation4 ,aye1 perhaps not even then1 but would have to wend my way through all the animal kingdom1 till ,i ended up by trying to make myself look like inanimate things such as icebergs or lumps of coal4 ,the undertaking has not been altogether free from pathetic associations4 ,it was done during the period of my father's last illness1 and the pleasure that he derived from the visit of each new character cheered1 ,i am sure1 his last hours on earth4 ,,chapter ,,iv ,,the ,,material ,when we consider the materials1 we realise that the art of make-up is more or less allied to the art of the painter2 although the kinship may not be of a very intimate character4 ,it resembles in many particulars coloured statuary1 with this great difference1 that in the case of the actor the statue is alive4 ,if the student were to have a bust of himself accurately modelled by a sculptor and were to apply the various articles of make-up to it1 he would get almost precisely the same effects that he would get from his own face1 minus1 of course1 the ability to change its expression4 ,i have such a bust1 and ,i find that ,i can do much of my experimenting upon my dumb counterpart without either its skin or temper ever resenting the torture4 ,though ,i do not think that many will care to follow my example in this particular ,i offer the suggestion as being of some value4 ,among the men who paint pictures you rarely find two who use exactly similar materials1 or work in precisely similar ways1 in fact methods of work and the tools used depend largely upon individual differences of temperament4 ,so in the following pages ,i trust that it may be felt that ,i am suggesting in a more or less stimulating way1 and that ,i am not dogmatising4 ,if we again compare it with painting we shall find that we get the most valuable hints from that branch which is known as the impressionist school4 ,the enormous size of the proscenium1 which is really only the frame of our canvas1 and the distance which is ever between the spectator and the stage1 demand great breadth of treatment4 ,i have known an actor to strive for almost the same delicacy of detail as would be found in a highly finished portrait1 and although the illusion from the front of the house was not positively wrong1 much of his work was never realised2 in fact with one quarter the effort he could have produced a result which would have been infinitely more telling4 ,doubtless many who read this book will have had a wide experience in making up1 and will have cultivated preferences for one selection of materials or another4 ,to them ,i submit my method and its results4 ,to the man who comes to the subject with an absolutely unbiassed mind1 ,i would suggest that he begin his work with a very limited range of colours1 for in this way he will materially simplify the problem4 ,the following is a list of the grease-paints that may be purchased from any dealer in make-up3 ,no4 #a1 lightest flesh colour2 #a-a_/b1 slightly darker2 #b1 pale2 #b-a_/b1 medium2 #c1 slightly darker2 #c-a_/b1 sunburnt2 #d1 a ruddy deep flesh colour2 #e1 bright yellow2 #e-a_/b1 dark2 #f1 darker yellow2 #g1 brown2 #h1 ,armenian bole2 #i1 dark sunburn2 #aj1 brown2 #aa1 burnt umber2 #ab1 black2 #ac1 reddish brown2 #ad1 chocolate2 #ae1 brick red2 #af1 dark brown2 #bj1 white2 carmine #a1 #b and #c4 ,of these the colours that prove most valuable in my hands are #b-a_/b1 #c1 #aj-ac1 yellow1 white and black1 and the following lining sticks2 light blue1 dark blue1 yellow1 lake brown1 and carmine #b4 ,i never use any one of these colours in its crude state1 but by blending produce the exact shade that ,i deem desirable4 ,the palm of the left hand proves an admirable palette2 its heat readily melting the paint4 ,a draughtsman's stub may be used for putting in the wrinkles and softening the shadows1 but ,i have found the most suitable instrument for this work is a small modelling tool such as is used for modelling in wax4 ,it has one end slightly curved and then brought to a knife-like edge4 ,it is not only valuable for applying colours1 but enables one to deftly finish the shaping of nose-paste4 ,a small quantity of nose-paste1 or1 what ,i have found work better1 toupee paste1 will be required4 ,a bottle of spirit gum for applying false beards and moustaches4 ,crepe hair of various colours4 ,powders ,i mix for myself that ,i may get a tint to match any given make-up4 ,the foundation of this is of a light pink to which ,i add a little ,armenian bole and yellow4 ,powders1 however1 of various hues may be bought which will save the trouble of mixing4 ,a good powder puff1 a box of dry rouge1 a hare's-foot1 a pair of scissors and a comb4 ,vaseline1 cold-cream1 cocoa butter1 or my preference1 olive oil1 for removing the make-up will complete the outfit4 ,various elaborate make-up boxes of tin are on the market1 but any small box will answer4 ,the one that always accompanies me on my travels is an antique case of oak1 and was no doubt used for generations as a receptacle for jewels4 ,it has but one tray1 which has sufficient space for the reception of the various paints4 ,the lower part is reserved for crepe hair1 powder and the other requisites4 ,,chapter ,v ,,on ,,applying ,,the ,,material ,the actual work of making up must fall under the two headings of ,form and ,colour4 ,we will consider first ,,colour ,the colour of a man's skin1 or his complexion1 may be indicative of his nationality or race4 ,for example1 consider the distinctive colourings of the ,english1 ,italians1 ,japanese1 ,indians1 or ,africans4 ,it may suggest his age4 ,for youth has its own peculiar freshness2 the healthy meridian of life is florid1 while pallor comes with old age4 ,we may also vividly realise temperament from the tint of the skin4 ,the sad1 the morbid1 and the mean are usually sallow2 the happy and generous1 brilliantly hued4 ,trades and professions also dye their followers to their liking4 ,the monk is bleached in the cloister1 the soldier or sailor is browned by the sun and wind4 ,having decided on the complexion that will be characteristic of a given part1 we mix and apply the paint4 ,are we to present an ,english soldier back from a foreign campaign ,no4 #c grease-paint1 mixed with a little #ac1 will yield exactly the sunburnt hue that we desire4 ,we must remember though that the upper part of the forehead has been protected from the sun's rays by his helmet1 and so a distinct line of light flesh will remain4 ,no4 #b-a_/b will do for this4 ,a mixture of #b-a_/b1 yellow and a little brown will provide suitable pallidness4 ,such as we might imagine would be characteristic of the miser4 ,we cover the face with ,no4 #c1 and then deepening the hue of some more ,no4 #c on our palm with a little lake and carmine1 and working this over the face in fleck-like blotches1 we shall obtain the floridness of the man who drinks1 or perhaps even eats too much4 ,i give these few examples to show the importance of first deciding what the actual complexion of the character shall be4 ,this paint1 which is spread all over the face is called the groundwork4 ,by a suitable application of colour1 in the way of shadows and of high lights1 we can give the illusion of a different form of feature or of face4 ,let it always be remembered that the shadow is almost invariably of a similar colour to the rest of the face1 only darker4 ,this darkening may be done with brown1 lake1 or blue4 ,for example1 if the prevailing tone of the skin is #b-a_/b mixed with yellow and a brown1 the same mixture with considerably more brown added to it will give us exactly the pigment we require for the shadows and wrinkles1 remembering always that the depth of the wrinkles will be darkest4 ,the same mixture1 lightened with additional yellow and white until it is very pale indeed1 will give the high lights4 ,the shadows round the eyes of the sickly and in their sunken cheeks will be bluish4 ,a little lake and blue mixed with the groundwork will do for this4 ,always strive to keep the colouring as light and brilliant as possible2 only thus may a dirty appearance be avoided4 ,finish up the make-up with plenty of powder of a colour that suits that of the groundwork4 ,,chapter ,,vi ,,form ,the variation of form that may be suggested by painted high lights and shadows is effective enough when the full face is observed4 ,for instance an almost white line on the bridge of the nose seems to give this feature additional prominence when the actor looks directly toward you1 but on getting a view of his profile this illusion disappears1 in fact the true shape of the nose is realised4 ,if it is desirable to really alter the shape of a feature1 a face1 or even the entire head1 another method must be used4 ,the simplest and most popular is the application of nose paste1 or what ,i personally prefer toupee paste4 ,a sufficient quantity of this material is taken and kneaded into a soft mass4 ,to do this it is sometimes necessary to warm it slightly4 ,it is formed roughly into the shape desired and then stuck to the skin4 ,some make its adhesion more certain by applying a small quantity of spirit gum to the skin first4 ,i have found it better to melt the surface of the paste in the heat of a candle before placing it into position4 ,when the paste has adhered to the skin a little grease applied to it with the fingers will facilitate the subsequent shaping4 ,the modelling should be carefully finished with the fingers and a modelling tool until no juncture is observable4 ,in fact it should seem to be part of the face4 ,plenty of groundwork spread all over the actual flesh and the parts that have been built out brings the whole face into accord4 ,the nose paste can be used for altering the shape of the nose either by making the bridge more prominent1 the end longer1 and this increase in its length may be made in any direction either up or down4 ,the nostrils fuller1 in fact1 the whole nose may be covered1 and its shape and size entirely changed4 ,in a similar way the prominence of the forehead and of the cheek bones may be built out and additions may also be made to the chin4 ,it is well to remember that all such distinctive features are due to the shape of the underlying bony structure of the skull1 and when we desire to alter the shape we must do it in such a way that all the laws of anatomy are not ignored4 ,the paste may also be used for imitating unpleasant growths such as warts and moles4 ,the entire outline of the head may be altered by the shape of the wig4 ,on deciding what this alteration shall be it is simplest to think of it as having roughly a geometrical form4 ,a head may be round1 square1 or oblong1 and this distinctive form is noticeable when either the full face or profile is observed4 ,when ordering the wig even a very rough sketch will prove of great assistance to the wig-maker4 ,the beard is also a great help in changing the shape of the face4 ,the chin may be strengthened or modified by a suitable arrangement of the hair4 ,a great double chin of padded silk is sometimes worn round the neck1 but this is only convincing when the chin is slightly bearded4 ,the foregoing alterations have almost all been in the shape of additions to the features4 ,we will now consider how modifications may be made4 ,the first time that ,i played the part of a negro ,i found that ,i should not be able to imitate the flattened nose of the race unless ,i used some method to depress my own very prominent organ4 ,i found that by holding the tip of my nose down with my finger ,i very nearly got the illusion ,i required4 ,i next took a piece of strong sewing silk1 and first protecting the skin of my nose with a piece of kid1 passed the silk over this1 and tying this at the back of my head got exactly what ,i required4 ,then building the nostrils out with nose paste and covering it all with dark grease paint ,i look sufficiently negroid to deceive a native4 ,the nose may be given a very decided upward tilt by passing a similar thread under the end of it4 ,this thread is then joined to the upper part of the wig4 ,at a short distance these threads are not noticeable4 ,,chapter ,,vii ,,preparing ,,the ,,make-,,up ,in adopting the following method in preparing to make-up1 ,i have been actuated by a desire to preserve the health of my body1 and as far as possible the wholesomeness of my skin4 ,acting is sometimes such violent physical exercise that precautions should be taken against catching cold4 ,therefore on entering my dressing-room ,i change my underclothing4 ,i next put on tights or any lower garment that part demands4 ,to free the face from any dust that might be rubbed into the pores by the process of making-up ,i wash with pure ,castile soap and warm water4 ,then thoroughly dry the skin with a soft towel4 ,while making-up ,i wear a cotton dressing-gown4 ,my dressing-table has a large mirror flanked by two electric lights4 ,on this table the grease paints1 wig and other materials that ,i require for a given make-up are arranged4 ,first a little oil is thoroughly rubbed into the skin filling the pores and keeping them from being clogged with the paint4 ,i next build up with nose-paste any features that require additional relief4 ,then the face1 neck and ears are covered with a thin layer of #b-a_/b grease paint4 ,this is done that all inequalities of colour may be eliminated1 and enables one to subsequently get a smooth1 clean groundwork1 no matter what colour is desired4 ,i put on my wig1 taking care that the join is invisibly blended4 ,the face1 neck and ears are then covered with a suitable groundwork that ,i mix on the palm of my hand4 ,the broad shadows are next introduced1 such as sunken cheeks1 temples1 and shadows round the eyes4 ,the accentuation1 with smaller shadows1 of the mouth and eyes is the next work4 ,wrinkles are added1 care being taken that they are placed at places that nature would select4 ,this may be discovered by actually wrinkling the face and observing where the lines fall4 ,high lights are then applied4 ,if a beard or moustache is to be worn1 carefully remove the paint with a clean towel from the part that will be covered by the false hair and apply a little spirit gum to the clean skin4 ,adjust the beard and hold it until it adheres thoroughly4 ,always blend the beard with the cheeks with loosely-combed crepe hair as this will help the naturalness of the appearance4 ,powder the face4 ,the eyelashes are darkened by drawing a thin line along the edges of the lids4 ,this ,i do with an orange stick dipped in melted paint4 ,the eyebrows are then drawn in4 ,the make-up is finished by colouring the lips4 ,i occasionally walk back from the mirror that ,i may get an impression such as a distant spectator might receive4 ,the hands and arms are made up if the character demands it4 ,the dressing is completed and ,i step in front of a full-length mirror for a final inspection prior to going upon the stage4 ,what the precise impression is that ,i make upon my audience ,i cannot say1 ,i only know that in many character parts ,i have been unable to recognise myself4 ,the time that it takes to make-up must of course vary with the complexity of the characterisation4 ,at dress-rehearsals when ,i make-up for character for the first time ,i allow myself one hour and a half1 but this when ,i get more experienced with the part is sometimes reduced to half an hour4 ,the hurry that this necessitates is nerve-racking both for actor and dresser and becomes a race with the call-boy4 ,half an hour please1 he shouts1 his voice echoing up the stairs4 ,then you begin to work furiously4 ,when what seems only a few minutes gone by1 his second warning1 ,a quarter of an hour1 please1 is heard4 ,then you increase your speed4 ,when the boy calls ,overture1 if you are not almost dressed you tell your dresser with more decision than taste that you know that you will be off4 ,first-act beginners means a bad-tempered rush for the stage1 and the struggle with final buttons on your way4 ,once upon the stage you almost invariably find that you have a few minutes in which to regain your breath4 ,then1 warmed by the glare of the footlights1 you forget that you have ever hurried in your life4 ,in fact1 if you are a good actor you forget everything but the part you play4 ,,chapter ,,viii ,,on ,,removing ,,the ,,make-,,up ,at the conclusion of the play you retire to your dressing-room1 flushed1 ,i hope1 with success4 ,to resume your real self is a matter of little difficulty1 and yet it may be helpful to have a method suggested4 ,begin by removing parts of the clothing1 as it unquestionably would be soiled in the dirty process of removing the make-up4 ,first take off the wig1 next the moustache1 then the beard2 carefully remove the false nose1 or any other modelling in relief1 for if they are preserved with care they may be used repeatedly4 ,next1 with a small quantity of oil1 or any other grease that may be preferred1 soften the grease-paint slightly and remove it with a towel4 ,this first cleansing will only remove part of the colour1 in fact1 the treatment with oil must be repeated two or three times before every trace of paint has disappeared4 ,when this has been achieved1 wash thoroughly with warm water and pure ,castile soap2 dry the face1 taking care that every vestige of paint has been removed4 ,if the weather is cold1 a little cold cream rubbed into the skin1 which is then slightly powdered1 will protect it4 ,,chapter ,,ix ,,in ,,conclusion ,perhaps no other calling is as fascinating as that of the stage4 ,are we not happiest when we are least mindful of ourselves1 and does not absolute self-forgetfulness come with a complete realisation of a personality that is foreign to us8 ,plus this is the pleasure to be derived from the knowledge of the strength possessed which enables the swaying of multitudes by sympathy4 ,to the born actor his art is a delightful pastime4 ,all his observations of art and life augment his knowledge of character and his ability to portray emotion4 ,the less gifted should study perpetually4 ,the world is full of odd volumes in strange and interesting bindings4 ,to the student of make-up the binding is of no less interest than the matter within4 ,try to store vivid recollections of the distinctive types2 collect caricatures and prints2 they will be most suggestive and helpful4 ,if you possess even only a slight talent for drawing1 cultivate it assiduously1 for it is obvious that the actor who can draw will be able to make-up better than the one who cannot4 ,visit picture galleries and turn them into museums of types4 ,i know of no other gallery that interests me so much as the ,national ,portrait ,gallery4 ,when ,i am in ,london ,i try to visit it at least once a week4 ,there ,i realise what each one of a legion of distinguished men looked like4 ,if a play revives some period of history1 try to see some of the pictures of the greatest painters of that day1 or at least get reproductions of their work4 ,perhaps the very man that you require is standing in some dim canvas only waiting for you to make him live again4 ,remember that each period of history had its distinctive types4 ,think of the people of ,gainsborough1 of ,velasquez1 the portraits of ,holbein and of ,drer4 ,if you are to present a man of an alien race1 try and give him his national peculiarities without offering his country the insult of burlesquing them4 ,i think it is a sign of decadence of our stage that we strive to heap ridicule on almost every type that is not a product of our own land4 ,if any of the dark races are to be presented1 such as ,africans1 ,red ,indians1 or ,japanese1 trustworthy photographs may be bought which will prove an admirable guide4 ,if you are to portray a well-known historical character1 read everything you can about the man4 ,perhaps you will have the fortune to come across a detailed description by one of his intimate friends4 ,if the man you represent follows any particular trade or calling1 try to get acquainted with some such men4 ,take1 for example1 a foundry hand4 ,get permission to visit a foundry2 go there several times1 till the significance of the work is borne home to you4 ,you will eventually realise not only what the men look like1 but the way they feel1 and will be able to suggest the way in which they toil4 ,tinker1 tailor1 soldier1 sailor1 rich man1 poor man1 beggarman1 thief4 ,what a drama of characterisation the line conveys2 each is stamped with his trade or condition4 ,go again and again to life2 let your body and brain reflect it4 ,make your types actual4 ,a ,parliament1 a ,court1 a ward of a hospital1 with its quiet doctor going from bed to bed4 ,the deck of the steamer1 the interior of a bus--they each become a school where valuable lessons may be learnt4 ,unless you suffer from very definite physical or vocal limitations1 strive not to get grooved in your work4 ,do not repeat yourself over and over again in each new part that you play4 ,remember that the number of types in the world is infinite2 that the playwright is always striving to present to the public some new character4 ,ever add to your knowledge1 and recollect that work is life's great recompense4 ,thank ,god your toil is endless4 ,,illustrations ,,king ,,lear ,blow1 winds1 and crack your cheeks6 rage6 blow6 ,you cataracts1 and hurricanoes1 spout ,till you have drench'd our steeples1 drown'd the cocks6 ,you sulphurous and thought-executing fires1 ,vaunt couriers to oak-cleaving thunder-bolts1 ,singe my white head6 ,and thou1 all shaking thunder1 ,strike flat the thick rotundity o' the world6 ,crack nature's moulds1 all germes spill at once ,that make ingrateful man6 ,illustration ,illustration ,,king ,,lear ,this old man torn to rags by a tempest of emotion1 on the ultimate boundary of life1 is obviously difficult to portray2 tenderness and rage1 madness and dignity1 must all be shown4 ,he is pent1 baffled1 and buffeted by things physical and mental for a while4 ,then there is the hurried decay of body and of brain4 ,in ,fig4 #a observe that the nose has been slightly built up4 ,this is done to give added dignity to the face4 ,for the great weight of beard and hair would tend to make the nose look smaller than it really is4 ,after the nose has been built up the wig is put on that the position of the join may be indicated1 also what parts of the natural hair must be treated with white paint4 ,the groundwork is laid on3 this should be of #b-a_/b yellow and a little brown4 ,the shadows round the eyes are of groundwork mixed with blue4 ,the wrinkles are of groundwork mixed with additional brown and lake4 ,the temples should be shadowed with this colour4 ,find out where the wrinkles would come by pursing up the face4 ,use as many as possible to suggest extreme old age1 being always mindful that the intentions of nature are not ignored4 ,be careful that the lines on the face are not drawn in too decisive a manner1 as at a distance they seem much stronger than they really are4 ,the modelling tool is most suitable for the drawing and the subsequent modification of the wrinkles4 ,it may be also used for applying the more delicate high lights4 ,each wrinkle should be accentuated with a light just above it4 ,fig4 #b shows the make-up at a stage when it is ready for the addition of the moustache and beard4 ,observe the whitened hair just above the temples4 ,this is done with white grease paint4 ,fig4 #c shows the beard in position4 ,a tape goes over the head to partly support its weight1 and it is secured with spirit gum4 ,note the blending of the left cheek and beard with crepe hair1 also how half the chin is covered1 observe how the character of the face is altered by the bushy eyebrow4 ,fig4 #d shows the make-up almost complete and ready for the wig to be put on4 ,put the wig on1 carefully blending the join4 ,accentuate wrinkles and shadows here and there4 ,powder and treat the eyelashes with white paint4 ,,don ,,quixote ,fantastic to the point of madness1 of romantic daring4 ,simple and kind2 and above all a nobleman of great dignity4 ,i have chosen this extreme make-up as a foil to the ,falstaff4 ,falstaff is a creature of utter coarseness4 ,quixote as a singularly imaginative man is one of extraordinary sensitiveness4 ,the chief effort was to make the face as long and as thin as possible4 ,first compare the four progressive prints4 ,see how much longer the head is in ,fig4 #d than in ,fig4 #a4 ,as the four photographs are taken to exactly the same scale it is possible to accurately measure with a draughtsman's compass the additions that have been made to the chin and forehead4 ,it will be found that the head has been increased by one third4 ,first the nose is built up with paste4 ,by giving it a very pronounced hook it is decidedly lengthened and thus made to accord better with the new proportions of the face4 ,the prominences of the forehead and cheek bones are next accentuated with nose-paste 7,fig4 #a74 ,the wig is placed in position and the forehead made up with a ground work of #b-a_/b1 yellow1 and #ac1 a flesh colour that should suggest parchment4 ,the wig is then removed until the make-up is almost finished4 ,this keeps it from becoming soiled4 ,covering the face with groundwork is the next step4 ,a sunken appearance is given to the eyes by painting round them with brown4 ,shadows are worked into the cheeks4 ,lines are drawn from the inner corners of the eyes down on to the cheeks4 ,similar lines are indicated at either side of the nose4 ,a broad perpendicular stripe from the nose to the top of the forehead1 and the temples are darkened4 ,illustration ,illustration ,yellowish high lights are placed on the forehead at either side of the central shadow and round the temples in such a way that their depth is accentuated4 ,high lights on the cheek bones and above the various wrinkles make the face more vigorous4 ,the false eyebrows1 the moustache and beard are gummed in position4 ,the beard is blended with loosely combed crepe hair which is afterward trimmed4 ,the wig is again put on the shadows and high lights carried up with the false forehead4 ,yellowish powder is next dusted all over the face4 ,colour similar to the wig and beard is applied to the eyelashes4 ,the lips are painted with a colour that should not be too dark4 ,,falstaff ,if ,i were sawed into quantities1 ,i should make four dozen of such bearded hermit's staves as ,master ,shallow4 ,it is a wonderful thing to see the semblable coherence of his men's spirits and his4 ,they1 by observing of him1 do bear themselves like foolish justices2 he1 by conversing with them1 is turned into a justice-like serving-man4 ,their spirits are so married in conjunction with the participation of society1 that they flock together in consent1 like so many wild geese4 ,if ,i had a suit to ,master ,shallow1 ,i would humour his men1 with the imputation of being near their master2 if to his men1 ,i would curry with ,master ,shallow that no man could better command his servants4 ,it is certain that either wise bearing or ignorant carriage is caught1 as men take diseases1 one of another2 therefore1 let men take heed of their company4 ,i will devise matter enough out of this ,shallow1 to keep ,prince ,harry in continual laughter the wearing-out of six fashions1 which is four terms1 or two actions1 and he shall laugh without intervallums4 ,o1 it is much1 that a lie1 with a slight oath1 and a jest1 with a sad brow1 will do with a fellow that never had the ache in his shoulders6 ,o1 you shall see him laugh1 till his face be like a wet cloak ill laid up4 ,illustration ,illustration ,,falstaff ,a volcano of carnality capped by a head that seems red hot with fleshly passions4 ,of all the examples in the book this is the most exaggerated4 ,in exaggerating to a point of almost buffoonery it has been my wish to show to what extremes make-up could be carried--extremes that should usually be avoided4 ,the chief intention was to give great additional breadth to the head and face1 as opposed to the ,don ,quixote1 in which case the head has been lengthened as much as possible4 ,what this additional breadth amounts to may be realised by referring to ,fig4 #a of the progressive prints4 ,in ,fig4 #b the wig is shown with the silk joined to it from which the cheeks and double chin are to be formed4 ,with spirit gum the edges of the silk are joined round the eyes1 mouth and nose4 ,next the cheeks and chin are padded1 and the drawstring at the lower edge of the silk is tightened 7see ,fig4 #c74 ,a large nose of nose-paste is formed 7,fig4 #d74 ,pouches of nose paste are placed beneath the eyes and these are blended with the false cheeks1 effectually covering the joins4 ,a groundwork of ,no4 #c grease paint made deeper with yellow1 carmine1 and a little lake is applied evenly all over the face1 or perhaps it would be better to call it a mask4 ,this will bring its various elements into accord4 ,blotches of carmine mixed with a little yellow are dabbed on the nose and cheeks4 ,high lights of white mixed with a little yellow are placed on the forehead1 on the pouches under the eyes1 and on the cheeks4 ,blend these with the groundwork carefully4 ,the beard and moustache are so placed that the actual outlines of the cheeks are lost4 ,the beard is blended into the cheeks with crepe hair4 ,the eyelashes are coloured with reddish yellow making them seem smaller4 ,,shylock ,shylock4 ,i am bid forth to supper1 ,jessica3 ,there are my keys4 ,but wherefore should ,i go8 ,i am not bid for love2 they flatter me3 ,but yet ,i'll go in hate1 to feed upon ,the ,prodigal ,christian4 ,jessica1 my girl1 ,look to my house4 ,i am right loth to go3 ,there is some ill a-brewing towards my rest1 ,for ,i did dream of money-bags to-night4 ,illustration ,illustration ,,shylock ,a dignified figure really1 but under the lash of persecution disclosing the evil qualities of revengefulness and craft4 ,strong1 cruel1 and resentful4 ,the nose is built with nose-paste and carefully modelled after it is joined4 ,in the progressive prints1 ,figs4 #a and #b1 two views are given of it4 ,the groundwork is of ,no4 #c yellow1 a little lake1 brown1 and #ac4 ,before this is applied to the face1 the wig is put on2 but after the spreading of the groundwork it is again removed1 that it may not be soiled during the subsequent stages of the make-up4 ,the colour for the shadows and wrinkles is formed of the groundwork with brown and lake added4 ,the cavities of the eyes should be strengthened with this4 ,deep grooves are painted from the corners of the nose1 a sunken appearance given to the temples1 and crows' feet drawn from the eyes4 ,the high lights come above the wrinkles2 and are placed on the most prominent parts of the forehead4 ,the beard1 which is of a mixture of black1 deep red1 and grey hair1 is next gummed into position1 taking care that no grease paint is on any part of the face to which the gum is to be applied4 7,see ,fig4 #c47 ,in ,fig4 #d the blending of the beard with the cheek is shown1 also the placing of half the moustache and a false eyebrow4 ,observe the small piece of crepe hair that is placed just under the lower lip4 ,the wig is again put on and carefully blended with the forehead4 ,a rather deep reddish powder is suitable for the make-up4 ,the lips are coloured with carmine and lake mixed4 ,,hamlet ,a mirror of emotions4 ,the mouthpiece of protesting souls4 ,a creature of sensitiveness absolute4 ,his face must express almost the entire range of the passions4 ,very pale1 studious1 of great mental strength and refinement4 ,groundwork #b-a_/b1 a little yellow and a very small quantity of brown4 ,flesh colour that should vaguely suggest ivory4 ,a little white rubbed on to the most prominent parts of the forehead adds intellectuality to the head4 ,the shadows which should be of the groundwork deepened with brown are so arranged that they intensify the sensitiveness of the face4 ,they are used under the brows to give soulfulness to the eyes and to make the forehead seem more prominent4 ,a line is drawn round the upper part of the nostrils to give delicacy to the drawing of the nose4 ,the darkening of the division of the upper lip and of the cleft chin makes the face seem thinner4 ,the shadows on the temples and on the cheeks also help this illusion4 ,cream-coloured powder is applied to the face and neck4 ,the eyebrows are carefully drawn with brown in a wide clear arch and are afterward lightly combed4 ,the eyelashes are strengthened by drawing a black line along the edges and this line is carried a little way out at the outer corner of the eyes4 ,a tiny spot of carmine at the inner corner by the tear-bag lends lustre to the eye4 ,the lips nobly drawn in carmine give passion to the mouth4 ,the hair is of crisp clean curls which suggests vigour and alertness4 ,hamlet when impersonated by fair men has usually been played in a fair make-up1 and this example is worth following4 ,the subtle natural peculiarities of a fair face make a dark make-up unsuitable to it and vice vers4 ,for a fair make-up the same advice should be followed1 leaving all the brown and nearly all the yellow out of the groundwork1 and finishing with rouge4 ,the make-up should be much brighter and the wig of flaxen4 ,illustration ,illustration ,,hamlet ,the time is out of joint2 ,o cursed spite1 ,that ever ,i was born to set it right6 99 99 99 99 99 ,,hamlet 7,,second ,,print7 ,,polonius4 99 99 994 ,what do you read1 my lord8 ,,hamlet4 ,words1 words1 words6 ,,polonius4 ,what is the matter1 my lord8 ,,hamlet4 ,between who8 ,,polonius4 ,i mean1 the matter that you read1 my lord4 ,,hamlet4 ,slanders sir2 for the satirical rogue says here that old men have grey beards2 that their faces are wrinkled2 their eyes purging thick amber1 and plum-tree gum2 and that they have a plentiful lack of wit1 together with most weak hams3 all of which1 sir1 though ,i most powerfully and potently believe1 yet ,i hold it not honesty to have it thus set down2 for yourself1 sir1 shall be as old as ,i am1 if1 like a crab1 you could go backward4 ,,iago ,the personification of cunningness1 craft and deceit4 ,a brilliant mind and an utterly corrupted spirit4 ,one that enjoys to contemplate and to study mental suffering4 ,pale skin1 dark brown hair1 and a reddish beard4 ,observe the building of the nose4 ,its bridge runs in an uninterrupted line up to the forehead4 ,note the deep shadow of the temples and the manner of colouring the cheeks4 ,the drooping moustache gives the face a singularly sinister expression4 ,the beard is of crepe hair and is so arranged that it gives the skin a goatlike appearance4 ,see instruction for the making of beards4 ,illustration ,illustration ,,othello ,of great natural dignity1 simple and loyal4 ,driven to irresistibly follow an impulse when it has once seized his mind4 ,tortured to distraction by ,iago4 ,all the primitive savagery of his race is manifested4 ,the nose is first depressed by crossing it near the tip with a silk thread which is tied at the back of the head4 ,a small piece of kid is placed under the thread1 thus keeping from coming into contact with the skin4 ,the nostrils are built out until the nose has a ,moorish appearance4 ,the face is first covered with #b-a_/b and subsequently with a mixture of ,nos4 #aj and #ac4 ,the colouring is made much stronger round the eyes4 ,high lights are faintly suggested on the forehead and on the cheek bones4 ,the beard1 which had better be of crepe hair1 should be so applied that the flesh shows through4 ,reddish brown powder is used1 and the make-up is finished by painting strong black lines on the edges of the eyelids4 ,the eyebrows are also of black4 ,the lips are ,no4 #ac with a little carmine added4 ,ear-rings and a turban help the make-up4 ,,othello ,,and ,,iago ,,iago4 ,i will in ,cassio's lodging lose this napkin1 ,and let him find it4 ,trifles1 light as air1 ,are to the jealous1 confirmations strong ,as proofs of holy writ4 ,this may do something4 ,the ,moor already changes with my poison3 ,dangerous conceits are1 in their natures1 poisons1 ,which1 at the first1 are scarce found to distaste2 ,but1 with a little act upon the blood1 ,burn like the mines of sulphur4--,i did say so3-- ,enter ,,othello4 ,look1 where he comes6 ,not poppy1 nor mandragora1 ,nor all the drowsy syrups of the world1 ,shall ever medicine thee to that sweet sleep1 ,which thou ow'dst yesterday4 ,,othello4 ,ha6 ha6 false to me8 ,to me8 ,,iago4 ,why1 how now1 general8 no more of that4 ,,othello4 ,avaunt6 be gone6 thou hast set me on the rack-- ,i swear1 'tis better to be much abus'd1 ,than but to know't a little4 ,,iago4 ,how now1 my lord8 ,,othello4 ,what sense had ,i of her stolen hours of lust8 ,i saw't not1 thought it not1 it harm'd not me3 ,i slept the next night well1 was free and merry2 ,i found not ,cassio's kisses on her lips3 ,he that is robb'd1 not wanting what is stolen1 ,let him not know't1 and he's not robb'd at all4 ,,iago4 ,i am sorry to hear this4 ,,othello4 ,i had been happy1 if the general camp1 ,pioneers and all1 had tasted her sweet body1 ,so ,i had nothing known3 ,o now1 for ever1 ,farewell1 the tranquil mind3 farewell content6 ,farewell the plumed troop1 and the big wars1 ,that make ambition virtue6 ,o1 farewell6 ,farewell the neighing steed1 and the shrill trump1 ,the spirit-stirring drum1 the ear-piercing fife1 ,the royal banner2 and all quality1 ,pride1 pomp1 and circumstance of glorious war6 ,and ,o1 you mortal engines1 whose rude throats ,the immortal ,jove's dread clamours counterfeit1 ,farewell6 ,othello's occupation's gone6 ,,iago4 ,is't possible1 my lord8 ,,othello4 ,villain1 be sure thou prove my love a whore3 ,be sure of it2 give me the ocular proof2 ,taking him by the throat4 ,or1 by the worth of mine eternal soul1 ,thou had'st been better have been born a dog1 ,than answer my wak'd wrath4 ,,iago4 ,is't come to this8 ,,othello4 ,make me to see't1 or1 at the least1 so prove it1 ,that the probation bear no hinge nor loop1 ,to hang a doubt on2 or woe upon thy life6 ,,iago4 ,my noble lord1-- ,,othello4 ,if thou dost slander her1 and torture me1 ,never pray more2 abandon all remorse3 ,on horror's head1 horrors accumulate3 ,do deeds to make heaven weep1 all earth amaz'd1 ,for nothing canst thou to damnation add1 ,greater than that4 ,,iago4 ,o grace6 ,o heaven forgive me6 ,are you a man8 have you a soul or sense8 ,god be wi' you2 take mine office4 ,o wretched fool1 ,that liv'st to make thine honesty a vice6 ,o monstrous world6 ,take note1 take note1 ,o world6 ,to be direct and honest is not safe4 ,i thank you for this profit2 and1 from hence1 ,i'll love no friend1 sith love breeds such offence4 ,,othello4 ,nay1 stay3--,thou should'st be honest4 ,,iago4 ,i should be wise2 for honesty's a fool1 ,and loses that it works for4 ,,othello4 ,by the world1 ,i think my wife be honest1 and think1 she is not4 ,i think that thou art just and think thou art not4 ,i'll have some proof3 ,her name1 that was as fresh ,as ,dian's visage1 is now begrim'd and black ,as mine own face4 ,if there be cords1 or knives1 ,poison1 or fire1 or suffocating streams1 ,i'll not endure it4 ,would ,i were satisfied6 ,,iago4 ,i see1 sir1 you are eaten up with passion2 ,i do repent me1 that ,i put it to you4 ,you would be satisfied8 ,,othello4 ,would6 nay1 ,i will4 ,,iago4 ,and may3 ,but1 how8 how satisfied1 my lord8 ,would you1 the supervisor grossly gape on8 ,behold her tupp'd8 ,,othello4 ,death and damnation6 ,o6 ,,iago4 ,it were a tedious difficulty1 ,i think1 ,to bring them to that prospect3 ,damn them then1 ,if ever mortal eyes do see them bolster1 ,more than their own6 ,what then8 how then8 ,what shall ,i say8 ,where's satisfaction8 ,it is impossible you should see this1 ,were they as prime as goats1 as hot as monkeys1 ,as salt as wolves in pride1 and fools as gross ,as ignorance made drunk4 ,but yet1 ,i say1 ,if imputation1 and strong circumstances1 ,which lead directly to the door of truth1 ,will give you satisfaction1 you may have it4 ,,othello4 ,give me a living reason she's disloyal4 ,,iago4 ,i do not like the office3 ,but1 sith ,i am enter'd in this cause so far1-- ,prick'd to it by foolish honesty and love1-- ,i will go on4 ,i lay with ,cassio lately2 ,and being troubled with a raging tooth1 ,i could not sleep4 ,there are a kind of men so loose of soul1 ,that in their sleeps will mutter their affairs1 ,one of this kind is ,cassio4 ,in sleep ,i heard him say1--,sweet ,desdemona1 ,let us be wary1 let us hide our loves6 ,and then1 sir1 would he gripe and wring my hand1 ,cry1 ,o sweet creature6 and then kiss me hard1 ,as if he pluck'd up kisses by the roots1 ,that grew upon my lips3 then laid his leg ,over my thigh1 and sigh'd1 and kissed2 and then1 ,cry'd1 ,cursed fate6 that gave thee to the ,moor6 ,,othello4 ,o monstrous6 monstrous6 ,,iago4 ,nay1 this was but his dream4 ,,othello4 ,but this denoted a foregone conclusion2 ',tis a shrewd doubt1 though it be but a dream4 ,,iago4 ,and this may help to thicken other proofs1 ,that do demonstrate thinly4 ,,othello4 ,i'll tear her all to pieces4 ,,iago4 ,nay1 but be wise2 yet we see nothing done2 ,she may be honest yet4 ,tell me but this1-- ,have you not sometimes seen a handkerchief1 ,spotted with strawberries in your wife's hand8 ,,othello4 ,i gave her such a one2 'twas my first gift4 ,,iago4 ,i know not that3 but such a handkerchief1 ,i am sure it was your wife's1 did ,i to-day ,see ,cassio wipe his beard with4 ,,othello4 ,if it be that1-- ,,iago4 ,if it be that1 or any that was hers1 ,it speaks against her with the other proofs4 ,,othello4 ,o1 that the slave had forty thousand lives2 ,one is too poor1 too weak for my revenge6 ,now do ,i see 'tis true4--,look here1 ,iago2 ,all my fond love thus--,i do blow to heaven3 ',tis gone4-- ,arise1 black vengeance1 from thy hollow hell6 ,yield up1 ,o love1 thy crown and hearted throne ,to tyrannous hate6 ,swell1 bosom1 with thy fraught1 ,for 'tis of aspics' tongues6 ,,iago4 ,yet1 be content4 ,,othello4 ,o1 blood1 blood1 blood6 ,,iago4 ,patience1 ,i say2 your mind1 perhaps1 may change4 ,,othello4 ,never1 ,iago4 ,like to the ,pontic sea1 ,whose icy current and compulsive course ,ne'er feels retiring ebb1 but keeps due on ,to the ,propontic1 and the ,hellespont2 ,even so my bloody thoughts1 with violent pace1 ,shall ne'er look back1 ne'er ebb to humble love1 ,till that a capable and wide revenge ,swallow them up4--,now1 by yond marble heaven1 ,in the due reverence of a sacred vow ,kneels4 ,i here engage my words4 ,,iago4 ,do not rise yet4 ,kneels4 ,witness1 you ever-burning lights above6 ,you elements that clip us round about6 ,witness1 that here ,iago doth give up ,the execution of his wit1 hands1 heart1 ,to wrong'd ,othello's service6 ,let him command1 ,and to obey shall be in me remorse1 ,what bloody business soever4 ,they rise4 ,,othello4 ,i greet thy love1 ,not with vain thanks1 but with acceptance bounteous1-- ,and will upon the instant put thee to't3 ,within these three days let me hear thee say1 ,that ,cassio's not alive4 ,,iago4 ,my friend is dead2 'tis done at your request3 ,but let her live4 ,,othello4 ,damn her1 lewd minx6 ,o1 damn her6 ,come1 go with me apart3 ,i will withdraw1 ,to furnish me with some swift means of death ,for the fair devil4 ,now art thou my lieutenant4 ,,iago4 ,i am your own for ever4 ,exeunt4 ,,bottom ,,the ,,weaver ,a bucolic egoist1 vain1 dense1 and narrow4 ,the groundwork for this is ,no4 #c with a little #ac added4 ,white is rubbed into the cheeks in the shape of high lights to broaden the appearance of the face4 ,a triangular shadow painted on the under part of the nose makes this feature seem to tilt upward4 ,the eyebrows are almost entirely obliterated with thick grease paint1 as also are the eyelashes4 ,the small perpendicular lines at the ends of the eyes seem to reduce their size4 ,the corners of the mouth are extended with paint1 and the tight-fitting wig drawn well over the forehead seems1 while it diminishes the size of the head1 to make the face appear larger4 ,much of the stupidity of countenance is due to expression4 ,,bottom ,,the ,,weaver ,bottom awakes4 ,when my cue comes1 call me1 and ,i will answer3 my next is1 ,most fair ,pyramus4 ,hey1 ho6 ,peter ,quince6 ,flute1 the bellows-mender6 ,snout1 the tinker6 ,starveling6 ,god's1 my life6 stolen hence1 and left me asleep4 ,i have had a most rare vision4 ,i have had a dream1--past the wit of man to say what dream it was4 ,man is but an ass1 if he go about to expound this dream4 ,methought ,i was1--there is no man can tell what4 ,methought ,i was1 and methought ,i had1--but man is but a patched fool if he will offer to say what methought ,i had4 ,the eye of man hath not heard1 the ear of man hath not seen1 man's hand is not able to taste1 his tongue to conceive1 nor his heart to report1 what my dream was4 ,i will get ,peter ,quince to write a ballad of this dream2 it shall be called ,bottom's ,dream1 because it hath no bottom2 and ,i will sing it in the latter end of a play1 before the duke3 peradventure1 to make it the more gracious1 ,i shall sing it at her death4 ,illustration ,illustration ,,pierrot ,the symbol of all things theatrical4 ,the utterly impersonal medium for dramatic expression4 ,the mask of white destroys the distinctions of colour1 race1 or station4 ,he may be emotionally1 all things to all men4 ,most professional clowns cover their faces with a mixture of pure oxide of zinc and lard1 and then powder thickly with dry oxide of zinc4 ,this is the method that ,i adopt4 ,some may prefer to first paint the face with white grease paint and then powder with the zinc4 ,the lips are painted with carmine4 ,the eyes are outlined with black1 and the eyebrows are definitely drawn4 ,a spot of carmine is placed at the inner corner of each eye4 ,,romeo ,the most romantic of the ,shakespeare heroes1 and physically the most attractive4 ,as he is a beautified edition of ,hamlet1 the instruction for making-up is similar4 ,only no effort should be made to arrive at the intellectual type of face that is striven for in the case of the more serious part4 ,the groundwork should be ,no4 #b-a_/b with #c1 a little #ac1 and yellow added to give it ,italian warmth4 ,after powdering1 the cheeks may be dusted with dry rouge1 and this should be carried up to the temples2 a little on the end of the chin is also helpful4 ,in juvenile make-ups it is always advisable to make the forehead lighter than the rest of the face1 as it gives a feeling of animation to the countenance4 ,illustration ,,romeo ,,romeo4 ,he jests at scars1 that never felt a wound4 ,juliet appears above1 at a window4 ,but1 soft6 what light through yonder window breaks8 ,it is the east1 and ,juliet is the sun6 ,arise1 fair sun1 and kill the envious moon1 ,who is already sick and pale with grief1 ,that thou1 her maid1 art far more fair than she ,be not her maid1 since she is envious2 ,her vestal livery is but sick and green1 ,and none but fools do wear it2 cast it off4 ,it is my lady2 ,o6 it is my love4 ,o6 that she knew she were6 ,she speaks1 yet she says nothing2 what of that8 ,her eye discourses1 ,i will answer it4 ,i am too bold1 'tis not to me she speaks3 ,two of the fairest stars in all the heaven1 ,having some business1 do entreat her eyes ,to twinkle in their spheres till they return4 ,what if her eyes were there1 they in her head8 ,the brightness of her cheek would shame those stars1 ,as daylight doth a lamp2 her eyes in heaven ,would through the airy region stream so bright1 ,that birds would sing1 and think it were not night4 ,see6 how she leans her cheek upon her hand6 ,o6 that ,i were a glove upon that hand1 ,that ,i might touch that cheek4 ,,the ,,apothecary ,,in ,,romeo ,,and ,,juliet ,this grim compounder of death-dealing drugs was for me a most interesting part to play2 ,i made him up from head to foot4 ,from the costumier ,i got the oldest garments that ,i could procure4 ,at the elbows1 knees1 and heels1 ,i destroyed them with acid1 so that when ,i had them on the joints protruded4 ,the coat and cloak1 if ,i did not carefully bind them round me1 disclosed my ribs4 ,wherever flesh showed ,i painted it in such a way that it suggested emaciation1 and though in reality ,i am well favoured with flesh ,i was told that on the stage ,i looked like a skeleton done up in a bundle of rags4 ,,romeo ,,and ,,juliet ,,apothecary ,,apothecary4 ,who calls so loud8 ,,romeo4 ,come hither1 man4 ,i see that thou art poor2 ,hold1 there is forty ducats3 let me have ,a dram of poison2 such soon-speeding gear ,as will dispense itself through all the veins1 ,that the life-weary taker may fall dead1 ,and that the trunk may be discharged of breath ,as violently1 as hasty powder fired ,doth hurry from the fatal cannon's womb4 ,,apothecary4 ,such mortal drugs ,i have2 but ,mantua's law ,is death to any he that utters them4 ,,romeo4 ,art thou so bare1 and full of wretchedness1 ,and fear'st to die8 famine is in thy cheeks2 ,need and oppression starveth in thy eyes2 ,contempt and beggary1 hang upon thy back1 ,the world is not thy friend1 nor the world's law ,the world affords no law to make thee rich2 ,then be not poor1 but break it1 and take this4 ,,apothecary4 ,my poverty1 but not my will1 consents4 ,,romeo4 ,i pay thy poverty1 and not thy will4 ,,apothecary4 ,put this in any liquid thing you will1 ,and drink it off3 and1 if you had the strength ,of twenty men1 it would despatch you straight4 ,illustration ,illustration ,,the ,,three ,,witches ,,in ,,macbeth ,these sub-human creatures1 weird1 mysterious women that seem akin to cats and bats and toads4 ,the first was made up by binding the nose down as is described in the instruction for ,othello4 ,the groundwork was of ,no4 #b-a_/b with a great deal of yellow and a little brown4 ,the cheeks were deeply shadowed1 as were also the cavities of the eyes4 ,the lines running from the nostrils to the corners of the mouth were strongly defined4 ,the form of the lips was completely obliterated4 ,strong shadows were painted round the mouth4 ,the illustration shows how definitely yellow and white were used for high lights4 ,for the second witch ,i carried my nose upward by putting a silk thread under it1 which ,i attached to the wig4 ,similar groundwork was used1 and the same type of shadow was placed on the cheeks and round the eyes4 ,the teeth were partly painted out with cobblers' wax4 ,finely cut crepe hair was dusted on the chin4 ,the third witch had a nut-cracker type of nose and chin built of nose-paste4 ,the cheeks were built out as in the case of ,don ,quixote4 ,moles and warts were freely scattered about the lower part of the face1 some of them being armed with bristles4 ,the colour for the groundwork and shadows was similar to that used for the first and second witches4 ,as ,i have been so frequently asked how ,i managed to get three photographs of myself in one print1 ,i may explain that separate negatives were taken1 which were subsequently combined in a composite print4 ,,macbeth #a,,st ,,witch4 ,thrice the brinded cat hath mew'd4 #b,,nd ,,witch4 ,thrice and once the hedge-pig whin'd4 #c,,rd ,,witch4 ,harpier cries3--',tis time1 'tis time4 #a,,st ,,witch4 ,round about the cauldron go2 ,in the poison'd entrails throw4 ,toad1 that under cold stone1 ,days and nights hast thirty-one ,swelter'd venom sleeping got1 ,boil thou first i' the charmed pot6 ,,all4 ,double1 double toil and trouble2 ,fire1 burn2 and1 cauldron1 bubble4 #b,,nd ,,witch4 ,fillet of a fenny snake1 ,in the cauldron boil and bake2 ,eye of newt1 and toe of frog1 ,wool of bat1 and tongue of dog1 ,adder's fork1 and blind-worm's sting1 ,lizard's leg1 and owlet's wing1 ,for a charm of powerful trouble1 ,like a hell-broth1 boil and bubble4 ,,all4 ,double1 double toil and trouble2 ,fire1 burn2 and1 cauldron1 bubble4 #b,,nd ,,witch4 ,cool it with a baboon's blood1 ,then the charm is firm and good4 ,illustration ,illustration ,,uncle ,,tom ,this kind-hearted negro1 the idol of children1 devout and forbearing1 has ever made a profound appeal to me4 ,the make-up is in many respects similar to that of ,othello4 ,in fact exactly the same instructions may be followed for shaping the nose4 ,the wig1 beard and moustache1 eyebrows and the colour of the face1 give it of course an entirely different character4 ,the ground is of brown1 with a little #ac added to give it warmth4 ,great care should be taken to get this colour well to the edges of the eyes or you will look more like the minstrel type of negro than that variety which was found on the plantations of ,kentucky4 ,the hands and arms1 neck and ears1 should all be carefully made up4 ,illustration3 ,,st4 ,,dunstan ,english ,church ,pageant1 #aiji4 ,illustration ,illustration ,,fleury ,gay1 debauched1 and lascivious4 ,an extreme type of ,french bohemian4 ,notice how the moustache is brushed back from the mouth2 the insolent droop of the eyelids1 and the elevation of the eyebrows4 ,the nose runs directly up into the forehead as in the case of ,iago4 ,the hair is long and curls in bushy masses4 ,full instructions for making the beard will be found in the description accompanying the progressive stages of the false beard4 ,a large black-rimmed eyeglass helps the characterisation4 ,,absinthe ,lin4 ,drink8 ,,fleury4 ,absinthe4 ,,lin4 ,do you--do you--excuse me--paint8 ,fleury shakes his head and drinks4 ,you are a poet8 ,,fleury4 ,yes1 my friend1 ,i am drinks4 ,i sing an answer to the siren's song4 ,it is a ballad of such enchanting lewdness1 they hold their breath to listen1 and silenced they are lost4 ,many a dainty female thing1 drunk with voluptuous ecstasy1 has crept into my nets4 ,,lin4 ,on what seas do you roam8 ,,fleury4 ,seas6 ,he that mentions water in my hearing1 even if he dignifies it with the name of sea1 insults me gravely4 ,the only liquid of my life is that which but a moment since made virile this poor glass1 that now alas is dead4 ,fleury's glass is filled1 and he drinks1 smacking his lips4 ,an ocean was not too much4 ,nay1 all the fluid systems of the world ,i'd gulp within4 ,an ocean here putting his hand upon his stomach1 a lake upon my tongue4 ,through every vein a burning river run1 and to my brain great clouds would rise through which pale opalescent rainbows would never cease to play4 ,from a ,play by ,,cavendish ,,morton4 ,,the ,,professor ,men who study assiduously a certain branch of the animal kingdom sometimes grow to look more or less like the things they contemplate4 ,this etymologist has cultivated a family resemblance to the insects that he studies4 ,the inquisitive eyes and the impertinent nose might well become a mosquito4 ,the nose is elongated with nose-paste4 ,the groundwork of ,no4 #c is used4 ,the shadows and wrinkles are of lake mixed with a little blue4 ,the high lights are of pale yellow4 ,the eyebrows are of grey made by mixing black and white paint4 ,the eyelashes are thickly coated with white4 ,the face is treated with very light powder4 ,the spectacles1 unkempt hair and velvet cap1 all give characteristic touches4 ,particular attention is called to the hands4 ,they are shadowed at all spaces that occur between the bones with a mixture of lake and brown4 ,veins are outlined in blue and high lights on the bones and veins are accentuated with pale yellow4 ,,the ,,professor ,i caught it myself4 ,i could dance for joy4 ,it bit me on the wrist4 ,i watched it suck my blood4 ,i let it quietly feed1 then ,i put a little glass over it and held it down until it was dead4 ,see ,i have a ring upon my arm4 ,i'll show you its sting under a microscope4 ,illustration ,illustration ,,the ,,soul ,,struggle ,in this1 physical expression is given to the profound spiritual conflict that takes place within a man of definitely dual personality4 ,he alternately comes under good and evil influences1 each transition coming suddenly4 ,as the changes occur while the character is in view of the audience1 the whole effect has to be produced by the altered expression of face and of form4 ,when working this character up ,i studied the effect in a full-length mirror1 striving constantly to make one character more and more dignified1 while the other was persistently degraded1 till1 ultimately1 ,i attained the most distinctive contrast of character that it was possible to achieve without the aid of artificial make-up4 ,,sir ,,thomas ,,more ,this print is included that it may be compared with the actual ,holbein print4 ,it shows how important accuracy of detail in the costuming of a part is4 ,when ,i impersonated this character in the ,chelsea ,pageant1 every ,london paper commented on the success of the make-up1 the ,times saying1 if the ,chancellor were to rise from the grave even he could hardly tell the difference between us2 the ,standard1 that ,i realised ,holbein's portrait with startling fidelity1 and the ,daily ,news1 that ,i looked as if ,i had stepped directly out of ,holbein's well-known canvas2 while the ,sketch and ,referee called me a living ,holbein4 ,illustration ,illustration ,illustration3 ,,sir ,,thomas ,,more ,,in ,,his ,,garden ,,at ,,chelsea ,illustration3 ,,sir ,,thomas ,,more ,,bidding ,,farewell ,,to ,,his ,,favourite ,,daughter ,the additional pictures of ,sir ,thomas ,more are reproduced to show how well the illusion of character was maintained under the most trying conditions possible4 ,make-up usually seems more real when seen by artificial light1 but as at the ,chelsea ,pageant1 #aijh1 ,i had no such aid1 the achievement of absolute reality was all the more difficult4 ,illustration ,illustration ,,napoleon ,an example of how historical accuracy should be striven for4 ,the success of this presentation depends on the actor more or less definitely resembling the first ,emperor of the ,french4 ,in my own case the only change ,i had to make in my appearance was to have my hair suitably cut4 ,i went to infinite pains however to have each part of the costume an exact copy of that he wore4 ,as very few prints are seen of ,napoleon in ,coronation robes1 perhaps the illusion will not be so striking as it would have been had ,i chosen to represent him wearing his well-known hat4 ,i preferred however to represent a less hackneyed picture4 ,,napoleon ,,diderot4 ,i have seen him on his throne4 ,,barbeillon4 ,was it wonderful8 ,,diderot4 ,wonderful6 ,he looks like a baby swaddled in glory1 sitting on his high chair4 ,,barbeillon4 ,well8 ,,diderot4 ,it was wonderfully pitiful and pitifully wonderful4 ,so terribly final4 ,there he sat like a bad boy who had stolen the toyshop4 ,he knows that no new thing may be created1 so he sifts the old1 and selecting the best puts them together as children build with blocks4 ,he assembles with a perfection which sickens4 ,triumphant arch or wedding trousseau is arranged with equal facility4 ,,barbeillon4 ,how was he dressed8 ,,diderot4 ,the dandy of eternity1 he had been to the clothing bazaar of time2 taken what he fancied--,csar's hat1 ,queen ,elizabeth's collar1 ,louis' cloak4 ,,barbeillon4 ,extraordinary6 ,,diderot4 ,i know2 but it was all so right4 ,round his neck a chain1 an aviary of linked golden eagles4 ,on his breast a mighty cross of five points as if it were built to crucify the senses of the world upon4 ,in its centre a great ,n1 the symbol of negation to humanity4 ,no6 no6 no6 it said to all mankind4 ,but ,i felt from the look in his eyes that it had burnt through to his own heart4 ,he is not blazing satisfaction1 only smouldering discontent4 ,i wonder if he'll smoulder out4 ,from a ,play by ,,cavendish ,,morton4 ,illustration ,illustration ,illustration ,,false ,,beards ,false beards may be procured ready made on gauze1 or may be made upon the face4 ,when a very large growth of hair is desired the wigmaker's production is most suitable1 but a small beard will have a much more natural appearance if it is made up directly upon the face4 ,the twelve prints illustrating the method of work1 practically explain themselves1 but a few descriptive words may be helpful4 ,crepe hair is in far too curly a condition when procured from the wigmaker1 to be used with much success4 ,i moisten and comb out a large quantity of it1 then allow it to dry4 ,fig4 #a of the progressive prints shows the hair being combed out1 ,fig4 #b being roughly cut into shape4 ,in ,fig4 #c this piece has been gummed into position4 ,in ,fig4 #d a circular bunch has been gummed to the chin4 ,fig4 #e the piece under the lower lip4 ,fig4 #f the covering of the cheek from ear to chin4 ,fig4 #g a small piece that runs from the corner of the mouth into the beard4 ,fig4 #h a blending of the beard with the cheek4 ,fig4 #i the placing of half the moustache4 ,fig4 #aj the trimming of the beard4 ,fig4 #aa illustrates how the moustache may be arranged2 and ,fig4 #ab that the beard may be pulled into any form4 ,the hair should not be pulled out in thick masses1 and when it is in position may be brushed and combed even as a real beard might4 ,it may be trimmed into any shape with an absolute certainty of its being realistic4 99 99 99 99 99 ,transcriber's ,notes3 ,italic text is denoted by underscores4 ,obvious printer's errors corrected4 ,every effort has been made to replicate this text as faithfully as possible1 including obsolete and variant spellings1 non-standard punctuation1 inconsistently hyphenated words1 and other inconsistencies4