That make ingrateful man!

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KING LEAR

This old man torn to rags by a tempest of emotion, on the ultimate boundary of life, is obviously difficult to portray; tenderness and rage, madness and dignity, must all be shown. He is pent, baffled, and buffeted by things physical and mental for a while. Then there is the hurried decay of body and of brain.

In Fig. 1 observe that the nose has been slightly built up. This is done to give added dignity to the face. For the great weight of beard and hair would tend to make the nose look smaller than it really is. After the nose has been built up the wig is put on that the position of the join may be indicated, also what parts of the natural hair must be treated with white paint. The groundwork is laid on: this should be of 2-1/2 yellow and a little brown. The shadows round the eyes are of groundwork mixed with blue. The wrinkles are of groundwork mixed with additional brown and lake. The temples should be shadowed with this colour.

Find out where the wrinkles would come by pursing up the face. Use as many as possible to suggest extreme old age, being always mindful that the intentions of nature are not ignored. Be careful that the lines on the face are not drawn in too decisive a manner, as at a distance they seem much stronger than they really are. The modelling tool is most suitable for the drawing and the subsequent modification of the wrinkles. It may be also used for applying the more delicate high lights. Each wrinkle should be accentuated with a light just above it. Fig. 2 shows the make-up at a stage when it is ready for the addition of the moustache and beard. Observe the whitened hair just above the temples. This is done with white grease paint.

Fig. 3 shows the beard in position. A tape goes over the head to partly support its weight, and it is secured with spirit gum. Note the blending of the left cheek and beard with crepe hair, also how half the chin is covered, observe how the character of the face is altered by the bushy eyebrow. Fig. 4 shows the make-up almost complete and ready for the wig to be put on. Put the wig on, carefully blending the join. Accentuate wrinkles and shadows here and there. Powder and treat the eyelashes with white paint.

DON QUIXOTE

Fantastic to the point of madness, of romantic daring. Simple and kind; and above all a nobleman of great dignity.

I have chosen this extreme make-up as a foil to the Falstaff.

Falstaff is a creature of utter coarseness. Quixote as a singularly imaginative man is one of extraordinary sensitiveness.

The chief effort was to make the face as long and as thin as possible.

First compare the four progressive prints. See how much longer the head is in Fig. 4 than in Fig. 1. 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 forehead. It will be found that the head has been increased by one third.

First the nose is built up with paste. By giving it a very pronounced hook it is decidedly lengthened and thus made to accord better with the new proportions of the face.

The prominences of the forehead and cheek bones are next accentuated with nose-paste (Fig. 1).

The wig is placed in position and the forehead made up with a ground work of 2-1/2, yellow, and 13, a flesh colour that should suggest parchment. The wig is then removed until the make-up is almost finished. This keeps it from becoming soiled.

Covering the face with groundwork is the next step. A sunken appearance is given to the eyes by painting round them with brown. Shadows are worked into the cheeks. Lines are drawn from the inner corners of the eyes down on to the cheeks. Similar lines are indicated at either side of the nose. A broad perpendicular stripe from the nose to the top of the forehead, and the temples are darkened.

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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 accentuated.

High lights on the cheek bones and above the various wrinkles make the face more vigorous.

The false eyebrows, the moustache and beard are gummed in position. The beard is blended with loosely combed crepe hair which is afterward trimmed.

The wig is again put on the shadows and high lights carried up with the false forehead.

Yellowish powder is next dusted all over the face. Colour similar to the wig and beard is applied to the eyelashes. The lips are painted with a colour that should not be too dark.

FALSTAFF

If I were sawed into quantities, I should make four dozen of such bearded hermit's staves as Master Shallow. It is a wonderful thing to see the semblable coherence of his men's spirits and his. They, by observing of him, do bear themselves like foolish justices; he, by conversing with them, is turned into a justice-like serving-man. Their spirits are so married in conjunction with the participation of society, that they flock together in consent, like so many wild geese. If I had a suit to Master Shallow, I would humour his men, with the imputation of being near their master; if to his men, I would curry with Master Shallow that no man could better command his servants. It is certain that either wise bearing or ignorant carriage is caught, as men take diseases, one of another; therefore, let men take heed of their company. I will devise matter enough out of this Shallow, to keep Prince Harry in continual laughter the wearing-out of six fashions, which is four terms, or two actions, and he shall laugh without intervallums. O, it is much, that a lie, with a slight oath, and a jest, with a sad brow, will do with a fellow that never had the ache in his shoulders! O, you shall see him laugh, till his face be like a wet cloak ill laid up.

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FALSTAFF

A volcano of carnality capped by a head that seems red hot with fleshly passions.

Of all the examples in the book this is the most exaggerated.

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 avoided.

The chief intention was to give great additional breadth to the head and face, as opposed to the Don Quixote, in which case the head has been lengthened as much as possible.

What this additional breadth amounts to may be realised by referring to Fig. 1 of the progressive prints.

In Fig. 2 the wig is shown with the silk joined to it from which the cheeks and double chin are to be formed. With spirit gum the edges of the silk are joined round the eyes, mouth and nose. Next the cheeks and chin are padded, and the drawstring at the lower edge of the silk is tightened (see Fig. 3).

A large nose of nose-paste is formed (Fig. 4).

Pouches of nose paste are placed beneath the eyes and these are blended with the false cheeks, effectually covering the joins.

A groundwork of No. 3 grease paint made deeper with yellow, carmine, and a little lake is applied evenly all over the face, or perhaps it would be better to call it a mask. This will bring its various elements into accord.

Blotches of carmine mixed with a little yellow are dabbed on the nose and cheeks. High lights of white mixed with a little yellow are placed on the forehead, on the pouches under the eyes, and on the cheeks. Blend these with the groundwork carefully.

The beard and moustache are so placed that the actual outlines of the cheeks are lost. The beard is blended into the cheeks with crepe hair.

The eyelashes are coloured with reddish yellow making them seem smaller.

SHYLOCK

Shylock. I am bid forth to supper, Jessica:
There are my keys. But wherefore should I go?
I am not bid for love; they flatter me:
But yet I'll go in hate, to feed upon
The Prodigal Christian. Jessica, my girl,
Look to my house. I am right loth to go:
There is some ill a-brewing towards my rest,
For I did dream of money-bags to-night.

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SHYLOCK

A dignified figure really, but under the lash of persecution disclosing the evil qualities of revengefulness and craft. Strong, cruel, and resentful.

The nose is built with nose-paste and carefully modelled after it is joined. In the progressive prints, Figs. 1 and 2, two views are given of it.

The groundwork is of No. 3 yellow, a little lake, brown, and 13. Before this is applied to the face, the wig is put on; but after the spreading of the groundwork it is again removed, that it may not be soiled during the subsequent stages of the make-up.

The colour for the shadows and wrinkles is formed of the groundwork with brown and lake added. The cavities of the eyes should be strengthened with this. Deep grooves are painted from the corners of the nose, a sunken appearance given to the temples, and crows' feet drawn from the eyes.

The high lights come above the wrinkles; and are placed on the most prominent parts of the forehead.

The beard, which is of a mixture of black, deep red, and grey hair, is next gummed into position, taking care that no grease paint is on any part of the face to which the gum is to be applied. (See Fig. 3.)

In Fig. 4 the blending of the beard with the cheek is shown, also the placing of half the moustache and a false eyebrow. Observe the small piece of crepe hair that is placed just under the lower lip.

The wig is again put on and carefully blended with the forehead.

A rather deep reddish powder is suitable for the make-up. The lips are coloured with carmine and lake mixed.

HAMLET

A mirror of emotions. The mouthpiece of protesting souls. A creature of sensitiveness absolute. His face must express almost the entire range of the passions. Very pale, studious, of great mental strength and refinement.

Groundwork 2-1/2, a little yellow and a very small quantity of brown.

Flesh colour that should vaguely suggest ivory. A little white rubbed on to the most prominent parts of the forehead adds intellectuality to the head.

The shadows which should be of the groundwork deepened with brown are so arranged that they intensify the sensitiveness of the face. They are used under the brows to give soulfulness to the eyes and to make the forehead seem more prominent. A line is drawn round the upper part of the nostrils to give delicacy to the drawing of the nose. The darkening of the division of the upper lip and of the cleft chin makes the face seem thinner. The shadows on the temples and on the cheeks also help this illusion.

Cream-coloured powder is applied to the face and neck.

The eyebrows are carefully drawn with brown in a wide clear arch and are afterward lightly combed.

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 eyes. A tiny spot of carmine at the inner corner by the tear-bag lends lustre to the eye.

The lips nobly drawn in carmine give passion to the mouth.

The hair is of crisp clean curls which suggests vigour and alertness.

Hamlet when impersonated by fair men has usually been played in a fair make-up, and this example is worth following. The subtle natural peculiarities of a fair face make a dark make-up unsuitable to it and vice versÂ.

For a fair make-up the same advice should be followed, leaving all the brown and nearly all the yellow out of the groundwork, and finishing with rouge. The make-up should be much brighter and the wig of flaxen.

HAMLET

---

HAMLET (Second Print)

Polonius. * * *. What do you read, my lord?

Hamlet. Words, words, words!

Polonius. What is the matter, my lord?

Hamlet. Between who?

Polonius. I mean, the matter that you read, my lord.

Hamlet. Slanders sir; for the satirical rogue says here that old men have grey beards; that their faces are wrinkled; their eyes purging thick amber, and plum-tree gum; and that they have a plentiful lack of wit, together with most weak hams: all of which, sir, though I most powerfully and potently believe, yet I hold it not honesty to have it thus set down; for yourself, sir, shall be as old as I am, if, like a crab, you could go backward.

IAGO

The personification of cunningness, craft and deceit. A brilliant mind and an utterly corrupted spirit. One that enjoys to contemplate and to study mental suffering.

Pale skin, dark brown hair, and a reddish beard.

Observe the building of the nose. Its bridge runs in an uninterrupted line up to the forehead.

Note the deep shadow of the temples and the manner of colouring the cheeks.

The drooping moustache gives the face a singularly sinister expression.

The beard is of crepe hair and is so arranged that it gives the skin a goatlike appearance.

See instruction for the making of beards.

OTHELLO

Of great natural dignity, simple and loyal. Driven to irresistibly follow an impulse when it has once seized his mind. Tortured to distraction by Iago. All the primitive savagery of his race is manifested.

The nose is first depressed by crossing it near the tip with a silk thread which is tied at the back of the head. A small piece of kid is placed under the thread, thus keeping from coming into contact with the skin. The nostrils are built out until the nose has a Moorish appearance.

The face is first covered with 2-1/2 and subsequently with a mixture of Nos. 10 and 13.

The colouring is made much stronger round the eyes.

High lights are faintly suggested on the forehead and on the cheek bones.

The beard, which had better be of crepe hair, should be so applied that the flesh shows through.

Reddish brown powder is used, and the make-up is finished by painting strong black lines on the edges of the eyelids. The eyebrows are also of black. The lips are No. 13 with a little carmine added.

Ear-rings and a turban help the make-up.

OTHELLO AND IAGO

Iago. I will in Cassio's lodging lose this napkin,
And let him find it. Trifles, light as air,
Are to the jealous, confirmations strong
As proofs of holy writ. This may do something.
The Moor already changes with my poison:
Dangerous conceits are, in their natures, poisons,
Which, at the first, are scarce found to distaste;
But, with a little act upon the blood,
Burn like the mines of sulphur.—I did say so:—

Look, where he comes! Not poppy, nor mandragora,
Nor all the drowsy syrups of the world,
Shall ever medicine thee to that sweet sleep,
Which thou ow'dst yesterday.
Othello. Ha! ha! false to me? To me?
Iago. Why, how now, general? no more of that.
Othello. Avaunt! be gone! thou hast set me on the rack—
I swear, 'tis better to be much abus'd,
Than but to know't a little.
Iago. How now, my lord?
Othello. What sense had I of her stolen hours of lust?
I saw't not, thought it not, it harm'd not me:
I slept the next night well, was free and merry;
I found not Cassio's kisses on her lips:
He that is robb'd, not wanting what is stolen,
Let him not know't, and he's not robb'd at all.
Iago. I am sorry to hear this.

Othello. I had been happy, if the general camp,
Pioneers and all, had tasted her sweet body,
So I had nothing known: O now, for ever,
Farewell, the tranquil mind: farewell content!
Farewell the plumed troop, and the big wars,
That make ambition virtue! O, farewell!
Farewell the neighing steed, and the shrill trump,
The spirit-stirring drum, the ear-piercing fife,
The royal banner; and all quality,
Pride, pomp, and circumstance of glorious war!
And O, you mortal engines, whose rude throats
The immortal Jove's dread clamours counterfeit,
Farewell! Othello's occupation's gone!
Iago. Is't possible, my lord?
Othello. Villain, be sure thou prove my love a whore:
Be sure of it; give me the ocular proof;

[Taking him by the throat.

Or, by the worth of mine eternal soul,
Thou had'st been better have been born a dog,
Than answer my wak'd wrath.
Iago. Is't come to this?
Othello. Make me to see't, or, at the least, so prove it,
That the probation bear no hinge nor loop,
To hang a doubt on; or woe upon thy life!
Iago. My noble lord,—
Othello. If thou dost slander her, and torture me,
Never pray more; abandon all remorse:
On horror's head, horrors accumulate:
Do deeds to make heaven weep, all earth amaz'd,
For nothing canst thou to damnation add,
Greater than that.
Iago. O grace! O heaven forgive me!
Are you a man? have you a soul or sense?
God be wi' you; take mine office. O wretched fool,
That liv'st to make thine honesty a vice!
O monstrous world! Take note, take note, O world!
To be direct and honest is not safe.
I thank you for this profit; and, from hence,
I'll love no friend, sith love breeds such offence.
Othello. Nay, stay:—Thou should'st be honest.
Iago. I should be wise; for honesty's a fool,
And loses that it works for.
Othello. By the world,
I think my wife be honest, and think, she is not.
I think that thou art just and think thou art not.
I'll have some proof: Her name, that was as fresh
As Dian's visage, is now begrim'd and black
As mine own face. If there be cords, or knives,
Poison, or fire, or suffocating streams,
I'll not endure it. Would I were satisfied!
Iago. I see, sir, you are eaten up with passion;
I do repent me, that I put it to you.
You would be satisfied?
Othello. Would! nay, I will.
Iago. And may: But, how? how satisfied, my lord?
Would you, the supervisor grossly gape on?
Behold her tupp'd?
Othello. Death and damnation! O!
Iago. It were a tedious difficulty, I think,
To bring them to that prospect: Damn them then,
If ever mortal eyes do see them bolster,
More than their own! What then? how then?
What shall I say? Where's satisfaction?
It is impossible you should see this,
Were they as prime as goats, as hot as monkeys,
As salt as wolves in pride, and fools as gross
As ignorance made drunk. But yet, I say,
If imputation, and strong circumstances,
Which lead directly to the door of truth,
Will give you satisfaction, you may have it.
Othello. Give me a living reason she's disloyal.
Iago. I do not like the office:
But, sith I am enter'd in this cause so far,—
Prick'd to it by foolish honesty and love,—
I will go on. I lay with Cassio lately;
And being troubled with a raging tooth,
I could not sleep.
There are a kind of men so loose of soul,
That in their sleeps will mutter their affairs,
One of this kind is Cassio.
In sleep I heard him say,—"Sweet Desdemona,
Let us be wary, let us hide our loves!"
And then, sir, would he gripe and wring my hand,
Cry, "O sweet creature!" and then kiss me hard,
As if he pluck'd up kisses by the roots,
That grew upon my lips: then laid his leg
Over my thigh, and sigh'd, and kissed; and then,
Cry'd, "Cursed fate! that gave thee to the Moor!"
Othello. O monstrous! monstrous!
Iago. Nay, this was but his dream.
Othello. But this denoted a foregone conclusion;
'Tis a shrewd doubt, though it be but a dream.
Iago. And this may help to thicken other proofs,
That do demonstrate thinly.
Othello. I'll tear her all to pieces.
Iago. Nay, but be wise; yet we see nothing done;
She may be honest yet. Tell me but this,—
Have you not sometimes seen a handkerchief,
Spotted with strawberries in your wife's hand?
Othello. I gave her such a one; 'twas my first gift.
Iago. I know not that: but such a handkerchief,
I am sure it was your wife's, did I to-day
See Cassio wipe his beard with.
Othello. If it be that,—
Iago. If it be that, or any that was hers,
It speaks against her with the other proofs.
Othello. O, that the slave had forty thousand lives;
One is too poor, too weak for my revenge!
Now do I see 'tis true.—Look here, Iago;
All my fond love thus—I do blow to heaven:
'Tis gone.—
Arise, black vengeance, from thy hollow hell!
Yield up, O love, thy crown and hearted throne
To tyrannous hate! Swell, bosom, with thy fraught,
For 'tis of aspics' tongues!
Iago. Yet, be content.
Othello. O, blood, blood, blood!
Iago. Patience, I say; your mind, perhaps, may change.
Othello. Never, Iago. Like to the Pontic sea,
Whose icy current and compulsive course
Ne'er feels retiring ebb, but keeps due on
To the Propontic, and the Hellespont;
Even so my bloody thoughts, with violent pace,
Shall ne'er look back, ne'er ebb to humble love,
Till that a capable and wide revenge
Swallow them up.—Now, by yond marble heaven,
In the due reverence of a sacred vow [Kneels.]
I here engage my words.
Iago. Do not rise yet. [Kneels.]
Witness, you ever-burning lights above!
You elements that clip us round about!
Witness, that here Iago doth give up
The execution of his wit, hands, heart,
To wrong'd Othello's service! Let him command,
And to obey shall be in me remorse,
What bloody business soever. [They rise.
Othello. I greet thy love,
Not with vain thanks, but with acceptance bounteous,—
And will upon the instant put thee to't:
Within these three days let me hear thee say,
That Cassio's not alive.
Iago. My friend is dead; 'tis done at your request:
But let her live.
Othello. Damn her, lewd minx! O, damn her!
Come, go with me apart: I will withdraw,
To furnish me with some swift means of death
For the fair devil. Now art thou my lieutenant.
Iago. I am your own for ever. [Exeunt.

BOTTOM THE WEAVER

A bucolic egoist, vain, dense, and narrow.

The groundwork for this is No. 3 with a little 13 added. White is rubbed into the cheeks in the shape of high lights to broaden the appearance of the face. A triangular shadow painted on the under part of the nose makes this feature seem to tilt upward. The eyebrows are almost entirely obliterated with thick grease paint, as also are the eyelashes. The small perpendicular lines at the ends of the eyes seem to reduce their size. The corners of the mouth are extended with paint, and the tight-fitting wig drawn well over the forehead seems, while it diminishes the size of the head, to make the face appear larger.

Much of the stupidity of countenance is due to expression.

BOTTOM THE WEAVER

Bottom awakes. When my cue comes, call me, and I will answer: my next is, "Most fair Pyramus." Hey, ho! Peter Quince! Flute, the bellows-mender! Snout, the tinker! Starveling! God's, my life! stolen hence, and left me asleep. I have had a most rare vision. I have had a dream,—past the wit of man to say what dream it was. Man is but an ass, if he go about to expound this dream. Methought I was,—there is no man can tell what. Methought I was, and methought I had,—but man is but a patched fool if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was. I will get Peter Quince to write a ballad of this dream; it shall be called Bottom's Dream, because it hath no bottom; and I will sing it in the latter end of a play, before the duke: peradventure, to make it the more gracious, I shall sing it at her death.

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PIERROT

The symbol of all things theatrical. The utterly impersonal medium for dramatic expression.

The mask of white destroys the distinctions of colour, race, or station. He may be emotionally, all things to all men.

Most professional clowns cover their faces with a mixture of pure oxide of zinc and lard, and then powder thickly with dry oxide of zinc. This is the method that I adopt. Some may prefer to first paint the face with white grease paint and then powder with the zinc.

The lips are painted with carmine. The eyes are outlined with black, and the eyebrows are definitely drawn. A spot of carmine is placed at the inner corner of each eye.

ROMEO

The most romantic of the Shakespeare heroes, and physically the most attractive.

As he is a beautified edition of Hamlet, the instruction for making-up is similar. 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 part.

The groundwork should be No. 2-1/2 with 3, a little 13, and yellow added to give it Italian warmth.

After powdering, the cheeks may be dusted with dry rouge, and this should be carried up to the temples; a little on the end of the chin is also helpful.

In juvenile make-ups it is always advisable to make the forehead lighter than the rest of the face, as it gives a feeling of animation to the countenance.

ROMEO

Romeo. He jests at scars, that never felt a wound.

[Juliet appears above, at a window.

But, soft! what light through yonder window breaks?
It is the east, and Juliet is the sun!
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou, her maid, art far more fair than she
Be not her maid, since she is envious;
Her vestal livery is but sick and green,
And none but fools do wear it; cast it off.
It is my lady; O! it is my love.
O! that she knew she were!
She speaks, yet she says nothing; what of that?
Her eye discourses, I will answer it.
I am too bold, 'tis not to me she speaks:
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars,
As daylight doth a lamp; her eyes in heaven
Would through the airy region stream so bright,
That birds would sing, and think it were not night.
See! how she leans her cheek upon her hand!
O! that I were a glove upon that hand,
That I might touch that cheek.

THE APOTHECARY IN "ROMEO AND JULIET"

This grim compounder of death-dealing drugs was for me a most interesting part to play; I made him up from head to foot.

From the costumier I got the oldest garments that I could procure. At the elbows, knees, and heels, I destroyed them with acid, so that when I had them on the joints protruded. The coat and cloak, if I did not carefully bind them round me, disclosed my ribs.

Wherever flesh showed I painted it in such a way that it suggested emaciation, 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 rags.

ROMEO AND JULIET

APOTHECARY

Apothecary. Who calls so loud?
Romeo. Come hither, man. I see that thou art poor;
Hold, there is forty ducats: let me have
A dram of poison; such soon-speeding gear
As will dispense itself through all the veins,
That the life-weary taker may fall dead,
And that the trunk may be discharged of breath
As violently, as hasty powder fired
Doth hurry from the fatal cannon's womb.
Apothecary. Such mortal drugs I have; but Mantua's law
Is death to any he that utters them.
Romeo. Art thou so bare, and full of wretchedness,
And fear'st to die? famine is in thy cheeks;
Need and oppression starveth in thy eyes;
Contempt and beggary, hang upon thy back,
The world is not thy friend, nor the world's law
The world affords no law to make thee rich;
Then be not poor, but break it, and take this.
Apothecary. My poverty, but not my will, consents.
Romeo. I pay thy poverty, and not thy will.
Apothecary. Put this in any liquid thing you will,
And drink it off: and, if you had the strength
Of twenty men, it would despatch you straight.

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THE THREE WITCHES IN "MACBETH"

These sub-human creatures, weird, mysterious women that seem akin to cats and bats and toads.

The first was made up by binding the nose down as is described in the instruction for Othello.

The groundwork was of No. 2-1/2 with a great deal of yellow and a little brown. The cheeks were deeply shadowed, as were also the cavities of the eyes. The lines running from the nostrils to the corners of the mouth were strongly defined. The form of the lips was completely obliterated. Strong shadows were painted round the mouth.

The illustration shows how definitely yellow and white were used for high lights.

For the second witch I carried my nose upward by putting a silk thread under it, which I attached to the wig. Similar groundwork was used, and the same type of shadow was placed on the cheeks and round the eyes. The teeth were partly painted out with cobblers' wax. Finely cut crepe hair was dusted on the chin.

The third witch had a nut-cracker type of nose and chin built of nose-paste. The cheeks were built out as in the case of Don Quixote.

Moles and warts were freely scattered about the lower part of the face, some of them being armed with bristles.

The colour for the groundwork and shadows was similar to that used for the first and second witches.

As I have been so frequently asked how I managed to get three photographs of myself in one print, I may explain that separate negatives were taken, which were subsequently combined in a composite print.

MACBETH

1st Witch. Thrice the brinded cat hath mew'd.
2nd Witch. Thrice and once the hedge-pig whin'd.
3rd Witch. Harpier cries:—'Tis time, 'tis time.
1st Witch. Round about the cauldron go;
In the poison'd entrails throw.
Toad, that under cold stone,
Days and nights hast thirty-one
Swelter'd venom sleeping got,
Boil thou first i' the charmed pot!
All. Double, double toil and trouble;
Fire, burn; and, cauldron, bubble.
2nd Witch. Fillet of a fenny snake,
In the cauldron boil and bake;
Eye of newt, and toe of frog,
Wool of bat, and tongue of dog,
Adder's fork, and blind-worm's sting,
Lizard's leg, and owlet's wing,
For a charm of powerful trouble,
Like a hell-broth, boil and bubble.
All. Double, double toil and trouble;
Fire, burn; and, cauldron, bubble.
2nd Witch. Cool it with a baboon's blood,
Then the charm is firm and good.

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UNCLE TOM

This kind-hearted negro, the idol of children, devout and forbearing, has ever made a profound appeal to me.

The make-up is in many respects similar to that of Othello. In fact exactly the same instructions may be followed for shaping the nose.

The wig, beard and moustache, eyebrows and the colour of the face, give it of course an entirely different character.

The ground is of brown, with a little 13 added to give it warmth. 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 Kentucky.

The hands and arms, neck and ears, should all be carefully made up.

ST. DUNSTAN
English Church Pageant, 1909.