r ^ fe o :). COPYRIGHT. 1889, BY HAROLD ROORBACH 3iaoorl)nct)'S full DCSCriptibc ©atalOflUe of Dramas, Comedies, Comediettas, Farces, Tableaux-vivants, Guide-books, Novel Entertainments for Church, School and Parlor Exhibitions, etc., containing complete and explicit information, will be sent to any address on receipt of a stamp for return postage. Address as above. ROORBACK'S AMERICAN EDITION PRICE, 15 CENTS EACH. This series embraces the best of plays, suited to the present time. The reprints have, been rigidly compared with the original acting copies, so that absolute purity oC text and stage business is -war ranted . Each play is furnished with an introductiofr of the greatest value to the stage manager, containing the argument or synopsis of incidents, complete lists of properties and costumes, diagrams of the stage settings and practicable scene-plots, with the fullest stage directions. They are hand- somely printed from new electrotype plates, in readable type, on fine paper. Their complete introductions, textual accuracy, and mechanical excellence render these books far superior in every respect to all editions of acting plays hitherto published. 1. ALL THAT GLITTERS IS NOT GOLD. A comic drama in two acts. Six Hiale, three female characters. Time, two hours. 2. A SCRAP OF PAPER. A comic drama in three acts. Six male, six female characters. Time, two hours. 3. MY LORD IN LIVERY. A farce in one act. Five male, three female charac- ters. Time, fifty minutes. 4. CABMAN No. 93. A farce in one act. Two male, two female characters. Time, lorty minutes. 5. MILKY 'WHITE. A domestic drama in two acts. Four male, two female char acters. Time, one hour and three quarters. 6. PARTNERS FOR LIFE. A comedy in three acts. Seven male, four female characters. Time, two hours. 7. WOODCOCK'S LITTLE GAME. A comedy-faice in two acts. Four male, four female characters. 'I'lmr, one hour. 8. HOW TO TAME YOUR MOTHER-IN-LAW. A farce in one act. Four male, two female characters. Time, thirty-five minutes. g. LADY AUDLost-J>aid, ia anv address, on receipt ef the price. HAROLD ROORBACH. Publisher, 9 Murray St., New York. APRIL FOOLS A FARCE IN ONE ACT FOR THREE MALE CHARACTERS BY W. F. CHAPMAN Copyright, 1890, by Harold Roorbach. NEW YORK HAROLD ROORBACH PUBLISHER \ zy^ I explained myself sufficiently. Smith. Scarcely. You volunteer some remarks about your daughters. Now, with all the respect that is due to those young ladies, I must ask you to put your parental feelings aside for a short time, and proceed with the business we have on hand. Ladies are out of my line altogether. Between you and me, Mr. Dunnbrowne, I am not a marrying man. Dunn. Not a marrying man ! Then what under the sun did you write me that letter for respecting your love for my daughter, eh ? Smith. Write you? Why, I never heard your name before this morning. Dunn, {aside) This is very strange. Can there he a mis— [aloud) Your name is Smith, is it not? Smith. Yes, that is my name. Dunn. Ah! [takes a letter from his pocket and unfolds it) Now tell me, Mr. Smith, on your honor as a gentleman, did you or did you not write that letter to me ? [giving the letter to Smith) Smith, [reads) " Dear sir,— for a long period of tinie I have fondly and madly loved your daughter Fanny with—" Oh, rub- bish ! On my honor as a gentleman, Mr. Dunnbrowne, I never loved any man's daughter, much less wrote this letter ; besides, it is signed John Smith and my name is fames, [returns the letter) lO APRIL FOOLS. Dunn, [aside) I cannot understand this at all. [aloud) As you are not the Mr. Smith I took you for, and have 7tot come to see me about my daughter, perhaps you will inform me what you did come for. Smith. What I came for? Well, that's not bad for you after listening to all I have said. Have you forgotten that you wrote me saying you had a mare to dispose of? Dunn, Wrote you about a mare ! Smith. What a forgetful man you must be. [fakes letter from his pocket — opens it and gives it to Dunn., who hwks it over) That is the letter ; perhaps it will recall the circumstance to mind. Dunn. I have not written this, sir. [keeps the letter i7i his hand) Smith. You have not? On your honor as a gentleman? Dunn. On my honor as a gentleman. Smith. That's curious. Have you not got a mare todispose of? Dunn. No ; more than that I never possessed one or a horse either. Smith. Then why did you not say so before? You answered my questions about the mare P^anny and Dann. Because I thought you were speaking of my daughter. You see I am expecting a Mr. Smith here this morning — the writer of the letter I have shown you — who is anxious to pay his addresses to my daughter Fanny. As he is a perfect stranger to me, and as you answered to the name of Smith, I naturally thought you were the gentleman I expected, hence the confusion. Smith. There is something very pecuHar about this affair that I [a hiock is heard at the door, R. Dunn ///A Smith's letter on the table — goes to the door ajid opens it. Short pause) Dunn. What name did you say? Oh, Smith. Ah, yes, it's all right, Jane, show him in. [turns to James Smith) I must ask you to excuse me now, Mr. Smith. The other Mr. Smith has arrived. I hope you will hear something about the mare before the day is over. Smith. I hope so, Mr. Dunnbrowne. [takes his hat and cane) Enter, Joseph Smith, r. James S. [aside) So this is the lover. Ah, poor fellow, [aloud) Good morning, Mr. Dunnbrowne, good morning. Dunn. Good morning, Mr. Smith. (Exit, James S. , R.) And good morning to you, Mr. Smith, [shakes hands ivith Joseph S., who is very pale and looks very mournful ) Joseph S. Good morning, Mr. Dunnbrowne. Dunn. Take a seat, Mr. vSmith. Smith. Thank you, sir. [sits, R., stands his umbrella betzveen his knees^puts his hat on the top of it and looks vacantly before him. Dunn, sits l. of table) APRIL FOOLS. II Dunn, {surveying him — aside) His appearance is not very pre- possessing ; but I must not judge him by his looks, {aloud) This is a beautiful morning, is it not, Mr. Smith ? Smith, {solemnly) It is. Dunn, {aside) He is not at all conversational, {aloud) We — we — er — we have had, I may say, several beautiful mornings lately, have we not, Mr. Smith? Smith, {mournfully) We have. Dunn, {aside) Umph ! He must be very bashful and nervous. I'll get a bottle of wine ; perhaps it will help to bring him to the point, {rises — aloud) I am going to my wine bin, Mr. Smith; you will excuse me a moment, will you not? Smith. Oh, certainly. (Exit, Dunn., L.; j/^rt?^/^;?/)/ — Smith looks quite cheerful) Wine bin, eh ! He does not appear to be greatly distressed through his daughter's death. It may be that he has a large family and does not feel her loss so keenly. Let me see now, does he say in his letter when she died ? {takes a black bordered envelope from his pocket and takes the letter from it — reads) "2, Belverley Terrace, Hedgetown, March 31st. Mr. Smith. Dear sir, I am grieved to inform you that my eldest daughter died sud- denly this afternoon. Will you kindly call here in the morning to make the necessary preparations for her interment, and oblige, yours truly, Peter Dunnbrowne." {replaces the letter in the enve- lope and puts it in his pocket) So she died yesterday, {cheerfully) Ah, well, somebody must die or what would become of us poor undertakers? If everybody took a notion to live on from this time forward, the whole body of funeral furnishers would die of starva- tion. I hear Mr. Dunnbrowne coming, so I must assume my customary mournful expression, I always find that it pleases my customers, {looks mournful) Enter, DUNN. L. , with bottle of wine and glasses — places them on the table and begins to draw the cork) Dunn. You will doubtless think it peculiar of me waiting upon myself, Mr. Smith, when there are servants in the house, but the fact is I never allow them to go to my wine bin, for I have dis- covered that they sometimes imbibe a little on their own account, in consequence of which I never allow the key to leave my posses- sion, {filling the glasses) Now, my dear sir, make yourself at home, {putting a glass before Smith) Taste that and tell me what you think of it. Smith, {aside) It is not often I am treated in this manner. {aloud) Thank you, Mr. Dunnbrowne. {leans his umbrella against the chair, and puts his hat and gloves under the seat — drinks) This is splendid, sir. It is really delicious. Dunn. Ah, I thought you would say so. {holds his glass up to the light — drinks) Is it not exhilarating ? 12 APRIL FOOLS. Smith. It is. [aside) He thinks more of his wine than of his poor daughter. Dunn, {aside) The wine has not loosened his tongue very much yet. He must have another glass, [aloud) Have another glass, Mr. Smith, it will do you a power of good, [re-fills '6^\iyC ?, glass) • Smith. Thank you, sir. [aside) This is what I call good busi- ness ; but I must say that, in all my experience as an undertaker and funeral furnisher, I never met a man who bore a daughter's death with greater fortitude than this man does, never, [drinks) Dunn, [aside) Well he is a bashful fellow. Why does he not speak out like a man ? I would commence the subject myself, but he might run away with the idea that I was anxious to get rid of my daughter, and I should not like him to think that on any account. How quiet he sits ! I don't see any thing else for it but applying the lotion to his refractory tongue until the desired effect is pro- duced, [aloud) Come, Mr. Smith, empty your glass and let me re-fill it for you. Smith. With pleasure, Mr. Dunnbrowne. [empties his glass. Dunn, refills it— aside) I am enjoying myself and no mistake. [aloud) Thank you, Mr. Dunnbrowne, thank you. I'm sure you are very kind. Dunn. Not at all, Mr. Smith. Wlien business such as we have on hand is to be transacted, we must make ourselves as sociable as possible. Smith, [aside) Now that he has mentioned business I had better take the hint and commence, [turns towards Dunn., aloud) The business that has brought us together is not of a \ ery cheerful character, I am sorry to say. Dunn. Do you think not, sir? For my part I do not see why it should not be. Smith. Well, er — it was of your feelings I was thinking, Mr. Dunnbrowne, for I know that this event must be a sad and sudden blow to you. Dunn. Not at all, my dear sir, not at all. [aside) His letter a sad blow to me? Pooh ! I look upon it as a very pleasing blow. [drinks and crosses his knee) Smith, [aside) He speaks of a death as though it were an every- day occurrence in his house. Dunn. Such things will occur sooner or later in any family, sir. We must expect them. Smith. Ah, that is true. We never know whose turn is next, but it is a great affliction when parent and daughter are parted in this way, Mr. Dunnbrowne. Dunn, [cheerfully) Oh dear no. I could not expect her to stay with me always. Besides, we shall not be parted for ever; I can just drop in and see her now and again, you know. Smith, [aside) Drop in and see her ! What does Oh, I see, APRIL FOOLS. 13 he must have a family vault, [aiotid] Her loss will be a source of immense grief, sir, I am sure. Dunn, [in same tone) Why should it be ? All young persons are anxious to commence that blissful state of life, for it is gener- ally supposed that they are better off — that is to say, they are much happier. Not that my daughter has ever been unhappy here, but the change will be a pleasing novelty to her, therefore I see no reason why I should be grieved at all. Smith, [aside) How careless he appears to be about her death, and speaks of the next world as a pleasing novelty. A h ! [draws a long deep sigh) Dunn, [aside) What nonsense to think that I shall be grieved because my daughter leaves my roof to begin married hfe ! He might be arranging for a funeral instead of a wedding, judging from the mournful manner he has of expressing himself, although I must say that it is quite in keeping with his appearance, [aloud] Fanny has always been a good daughter, Mr. Smith, and deserves to be made happy. Smith. I can believe you, Mr. Dunnbrowne, and doubt not that she will be happy for evermore. Dunn. You will do your utmost to make her comfortable when you take her, Mr. Smith, will you not? Smith. You may rest assured that nothing shall be wanting on my part as far as comfort is concerned. Dunn. I am glad to hear you say so, sir. Remember that this is a great undertaking, but I suppose you have carefully considered the matter before coming here. Smith. I have, Mr. Dunnbrowne. The responsibihties are very heavy in a case like this, I know, but I think I am quite able to bear them. When do you wish the ceremony to take place ? Dunn. You must suit yourself in that matter, Mr. Smith, I am not particular. Smith. Very well, sir. Let me see — to-day is Monday — I do not wish to hurry you, suppose we say Thursday. Dunn. Thursday! So soon ! Do not be too hasty, Mr. Smith, let us take proper time over this matter. Smith. Well, then, shall we say Friday, or Saturday at the latest ? We must get it over by Saturday. It would not do to delay it beyond this week. Dunn, [aside) Bless us, what a desperate hurry he is in ! In his letter he tells me has not proposed to Fanny, yet he wants to marry her this week, [aloud) I am not sure that we could make all our arrangements in so short a time, Mr. Smith. Smith. I can easily manage my portion of the arrangements, Mr. Dunnbrowne, and I think you can manage yours if you make an effort. We will say Saturday and settle that point. 14 APRIL FOOLS. Dunn. Very well, [aside) I don't know what Fanny will say to this. I wish she would come in. Smith. Well now, Mr. Dunnbrowne, what church do you intend Dunn. Oh, I don't mind. Any will suit me. Smith. St. Paul's is a very neat and quiet church. Dunn. Very well. St. Paul's will suit me if it suits you. I sup- pose the officiating clergyman there understands his business as well as any other. Smith. Oh, certainly. I am partial to St. Paul's because of the good and dry quahty of the ground — there is none of that wet clay about It. Dunn. Well that is rather a good point, Mr. Smith, [aside) How considerate he is ! He thinks the ground will be drier to walk on up to the church door. I should not have given that a thought myself, [aloud) Allow me to fill your glass, sir. [re-fills Smith's ^/^55) Smith. Thank you, sir. [drinks) I think you did not say how many carriages would be required, did you, Mr. Dunnbrowne? Dunn. No, I did not. I leave that matter entirely in your hands, Mr. Smith. I have no doubt that you understand what is required better than I do, so I could not think of interfering with any arrangements you can make. Smith. Thank you, sir, you do me honor. I suppose you would like to have the church bell tolled on the morning of the Dunn, [stiffly) Church bell tolled ! Decidedly not, sir. What under the sun should we have the bell tolled for ? Smith. It is very common in these cases, Mr. Dunnbrowne. Dunn, [with determination) Well / don't want to hear it, and moreover I won't have it tolled. Smith. I am sorry to cause you annoyance, Mr. Dunnbrowne, but I thought you would like to follow the custom in such cases. Dunn. And tolling a bell at a ceremony of this sort is customary, is it? Well /never heard of it before, [aside) My behef is that I have given him more wine than is good for him. Smith, [surprised) You surprise me, sir. Dunn, [carelessly) As you have named the matter I don't mind having the whole peal of bells ringing together. Engage the ringers for me, will you, Mr. Smith, and tell them to ring as many tripple-bob-majors — or whatever they call them — as they like next Saturday. Smith, [aside) The wine is getting into his head or he would never think of engaging the ringers to ring for a funeral, [aloud) I will engage the ringers if you wish, Mr. Dunnbrowne, but really I Dunn. Oh, I will pay all expenses, sir. Smith, [aside) Argument is useless while he is under the APRIL FOOLS. 15 influence of that wine. I had better bring my business to an end, and take my departure, [aloud) Will you kindly permit me to see your daughter ? Dunn. It would give me exceeding pleasure to do so, Mr. Smith, but she is not in at present. Smith. Not in ! [aside] Who ever heard of a corpse going out for a walk ! The man is hopelessly intoxicated. It is a blessing that I have not been prevailed upon to take more of that wine, or I should have been as bad as he. [aloud) If you will allow me to see your daughter now, Mr Dunnbrowne, I shall not have to come here again to take the measurements. , Dunn. Take the what ? Smith. The measurements. Dunn. The dressmaker will do that, sir. Smith, [aside) That wine again, [aloud) Dressmakers do not usually take the measurements for a coffin, sir. Dunn. Coffin! What are you talking about, sir? Coffin! [aside) The wine has made him more garrulous than I wished, [aloud) What should we want a coffin here for, eh ? Smith, [aside) He is drunk beyond doubt, [aloud) To put your daughter in, sir. It is absolutely necessary that you have one. Dunn, [angrily) Have you come here to have a joke out of me, Mr. Smith, or to make arrangements for marrying my daughter? Smith. Neither, Mr. Dunnbrowne. I came to make arrange- ments for burying her as requested in your note. Dunn, [mystified) Burying my daughter ! Requested in my note! What does this mean? Explain yourself, Mr. Smith. Smith, [takes letter from his pocket a7id hands it to Dunn) An explanation is needless. There is your letter asking me to come here and make arrangements for your daughter's interment. Dunn, [examining letter) I never wrote this. There is a great mistake somewhere, [returns letter) Smith. Then is your daughter not dead ? Dunn. No ; she is enjoying splendid health, I am glad to say. But am I to understand that you are really an undertaker and that your name is Smith ? Smith. Certainly ! Who and what did you think I was? Dunn. A gentleman who wished to inarry my daughter — not bury her. [takes letter from his pocket) See, I received this letter this morning from a Mr. Smith, who wishes to be my son-in-law — [gives the letter to Smith, who looks it over) — and I was under the impression that you were the author of it. Smith. Then your impression was a very wrong one, for I never saw this letter before, [returns the letter) I am already married, Mr. Dunnbrowne, and I may say that I have been a father on four separate occasions. But who can have sent this letter to me ? 1 6 APRIL FOOLS. Dunn. And who has sent this letter to me ? I cannot under- stand what James S. {without, R.) All right, miss, I know the way in. [rushes, in) Excuse my abrupt entrance, Mr. Dunnbrowne, but I forgot to take my letter away, and I want to trace the hand-writ- ing if possible. Dunn, [gives James S. his letter off the table) There it is, Mr. Smith. Apparently you are not the only one who is in a quandary about a letter this morning. This gentleman is not a candidate for the office of son-in-law, as I thought. He has come here in consequence of receiving a letter which I know nothing about, though it has my name at the foot. By a most peculiar coinci- dence, his name, like yours, is Smith. James S. How singular. Joseph S. Yes sir, my name is Smith, general undertaker and funeral furnisher. At my establishment all orders are promptly attended to. Kindly make a note of it, sir, you may require my services. James, [aside, piously) May the time be far distant. Dunn. Well, gentlemen, what are we to make of this dilemma? James. That's the point. Ah ! I smell a rat ! Joseph. A rat ? Dunn. Bless us! where is it? (Joseph S, and Du^n mount on chairs and look round the room in an alarmed manner) James. Don't be alarmed — it was only a figure of speech, [to Joseph) Permit me to look at your letter, sir. (Joseph and Dunn dismount from the chairs. Joseph hands his letter to ]Pi.uiLS, who compares it with his own) The same, I'm certain, [returns ]osK¥u's letter— turns to Dunn) Kindly allow me to see your letter, sir. (Dunn gives it — James compares it with his ow7i) Exactly the same, by Jupiter, [returns the letter to Dunn) It is as I thought. All these letters have been written by one hand. Dunn. Is it possible ? But what can have been the writer's object. James. Why, don't you know what day it is? Joseph. I see it all. It is the first of April. Dunn. So it is ; and we are nothing more nor less than a trio of "APRIL FOOLS." Dunn. James S. Joseph S. CURTAIN, NEW ENTERT_A1NMENTS. THE JAPANESE WEDDING. A costume pantomime representation of the Wedding Ceremony in Japinese high life. The company consists of the brtde and groom, their parents, six britlesmaids, and the officiating personage appropriately called the " Go-between." There are various formalities, including salaams, tea-drinking, eating rice-cakes, and giving presents. No words are spoken. The ceremony (which occupies about 50 minutes), with the "tea-room," fills out an evening well, though music and other attractions may be added. Can be represented by young ladies alone, if preferred. Price, 25 Cents. AN EVENING WITH PICKWICK. A Literary and Dramatic Dickens Entertainment. — Introduces the Pickwick Club, the Wardles of Dingley Deli, the Fat Boy, Alfred Jingle, Mrs. Leo Hunter, Lord Mutanhed and Count Smorltork, Arabella Allen and Bob Allen, Rob Sawyer, Mrs. and Master Bardell, Mrs. Cluppins, Mrs. Weller, Stiggins, Tony Weller, Sam Weller, and the Lady Traveller. Price, 25 cents. AN EVENING WITH COPPERFIELD. A Literary and Dramatic Dickens Entertainment. — Introduces Mrs. Copperfield, Davie, the Peggotys, the Murdstones, Mrs. Gummidge, Little Em'ly, Barkis, Betsey Trotwood, Mr. Dick and his kite, Steerforth, the Creakles, '1" raddles, Rosa Dartle, Miss Mowcher, Uriah Heep and his Mother, the Micawbers, Dora and Gyp, and the wooden-legged Gatekeeper. Price, 25 cents. These " Evenings with Dickens " can be represented in whole or in part, require but little memorizing, do not demand experienced actors, are not troublesome to pre- pare, and are suitable for performance either on the platform or in the drawing room. THE GYPSIES' FESTIVAL. A Musical Entertainment for Young People. Introduces the Gypsy Queen, Fortune Teller, Yankee Peddler, and a Chorus of Gypsies, of any desired number. The scene is supposed to be a Gypsy Camp. The costumes are very pretty, but simple ; the dialogue bright ; the music easy and tuneful ; and the drill movements and calisthenics are graceful. Few properties and no set scenery required, so that the entertainment can be represented on any platform. Price, 25 cents. THE COURT OF KING CHRISTMAS. A CHRISTMAS ENTERTAINMENT. The action takes place in Santa Claus land on Christmas eve, and represents the bustling preparations of St. Nick and his attendant worthies for the gratification of all children the next day. The cast may include as many as 36 characters, though fewer will answer, and the enter- tainment represented on a platform, without troublesome properties. The cos- tumes are simple, the incidental music and drill movements graceful and easily managed, the dialogue uncommonly good, and the whole thing quite above the average. A representation of this entertainment will cause the young folks, from six to sixty, fairly to turn themselves inside out with delight, and, at the same time, enforce the important moral of Peace and Good Will. Price, 25 cents. RECENTLY PUBLISHED. ILLUSTRATED TABLEAUX FOR AMATEURS. A new series of Tableaux Vivants, by Martha C. Weld. In this series each description is accompanied with a full-page illustration of the scene to be represented. PART I.— MISCELLANEOUS TABLEAUX.— Contains General Introduction, 12 Tableaux and 14 Illustrations. Price, 25 Cents. PART II.— MISCELLANEOUS TABLEAUX.— Contains Introduction, 12 Ta- bleaux and 12 illustrations. Price, 25 Cents. SAVED FROM THE WRECK. A drama in three acts. Eight male, three female characters. Time, two hours and a half. Price, 15 Cents. BETWEEN TWO FIRES. A comedy-drama in three acts. Eight male, three female characters. Time, two hours and a half. Price, 15 Cents. BY FORCE OF IMPULSE. A drama in five acts. Nine male, three female characters. Time, two hours and a half. Price, 15 Cents. A LESSON IN ELEGANCE. A comedy ia one act. Four female characters. Time, thirty minutes. Price, 15 Cents. WANTED, A CONFIDENTIAL CLERK. A farce in one act. Six male characters. Time, thirty minutes. Price, 15 Cents. SECOND SIGHT. A farcical comedy in one act. Four male, one^ female charac- ter. Time, one hour. Price, 15 Cents. THE TRIPLE WEDDING. A drama in three acts. Four male, four female characters. Time, one hour and a quarter. Price, 15 cents, '^S^^Any of the above -will be seni by inail^ postpaid, to any address^ on receipt fi/the annexed prices. ^^^^^ HAROLD ROORBACH, Publisher, 9 Murray St., New York. LIBRARY OF CONGRESS illllilliliilllllililllillliiili 016 102 631 1 J HELMER ACTOR'S MAKE-UP BOOK. A Praeiical and Systematic Guide to the Art o/ Making vj> /or the Stag*. PRICE, 25 CENTS. With exhaustive treatment on the Use of Theatrical AViGS AND Beards, The Make-up and its requisite materials, the 11ifferent features and their management, typical character Masks, etc. With Special Hints to Ladies. Designed for the USE OF Actors and Amateurs, and for both Ladies and Gentle- men, Copiously Illustrated. CONTENTS. L Theatrical Wigs. — The Style and Form of Theatrkal Wigs ■and Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for Measuring the Head. To put on a Wig properly, H. Theatrical Beards. — How to fashion a Beard out of crep6 hair. How to make Beards of Wool. The growth of Beard simu- lated. HL The Make-up — A successful Character Mask, and how to make it. Perspiration during performance, how removed. IV. The Make-up Box. — Grease Paints. Grease paintL ia sticks; Flesh Cream; Face Powder; How to use face powder as a Irquid cream ; The various shades of face powder. Water Cos- 3ii6tique. Nose Putty. Court Plaster. Cocoa Butter. CrSpe Hair arwi Prepared Wool. Grenadine. Dorin's Rouge. "Old Man's" Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. Eyebrow Pencils. Artist's Stomps. Powder Puffs. Hares' Feet. Camels'-hair Brushes. V. The Features and their Treatment. — The Eyes : blind- ness. The Eyelids. The Eyebrows : How to paint out an eyebrow or Tnoustache ; How to paste on eyebrows ; Hoiv to regulate bushy eye- brows. The Eyelashes : To alter the appearance of the eyes. The Ears. The Nose : A Roman nose ; How to use the nose putty ; A pug nose ; An African nose; a large nose apparently reduced in size. The Mouth and Lips : a juvenile mouth ; an old mouth ; a sensuous mouth; a satirical mouth; a one-sided mouth; a merry mouth ; A sullen mouth. The Teeth. The Neck, Arms, Hands and Finger- nails : Fingernails lengthened. Wrinkles: Friendliness and Sullen- ness indicated by wrinkles. Shading. A Starving character. A Cut in the Face. A Thin Face Made Fleshy. VI. Typical Character Masks. — The Make-up for Youth : Dimpled cheeks. Manhood. Middle Age. Making up as a Drunk- ard : One method ; another method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Macbeth. Richelieu. Statuary. Clowns. VII. Special Hints to Ladies. — The Make-up. Theatrical "Wigs and Hair Goods. Sent by mall, postpaid, to any address, on receipt of the price. HAROLD ROORBACH, Publisher, 9 Murray Street, New York,