oo thick,
but you will soon learn to get it just right, which is what you are
aiming at.

_Third stage._ Under rouge; foundation red; Stein's No. 18 carmine.
Make a few dots with the carmine grease paint stick on each cheek and
on the end of the chin. Use but little, and blend it by patting with
the first and second fingers of both hands, rather than by rubbing.
Begin well up against the nose, go under and around the eyes, and
toward the temples, working it down below the ear and off the jaw in
case there is a hollow in the lower part of the cheek. The color
should extend down on the cheek, over on the temple and well up to
the eye, patted and blended till no one can see where the red fades
into the foundation. The chin is then blended in the same way, to
leave no line between foundation color and under rouge. If your chin
is pointed, blend in front, not below, or it draws the chin way down.
Put on a lighter makeup for a small, intimate theatre, and a heavier
one for the large auditorium.

_Fourth stage._ Enlarging and beautifying the eyes. This is a very
important detail of correct makeup, and is indispensable on every
well-lighted stage, where even the most soulful orbs with long, thick
lashes will dwindle to half their size and have a faded, dull
appearance if not properly made up. It is essential that the two eyes
match in every detail, and to secure this result will require the
taking of considerable pains and close study of your mirror. Stein's
No. 11 blue lining stick is for use by the blue-eyed, regardless of
the color of the hair or complexion. Stein's No. 17, for the
dark-eyed. Titian-haired folks use Stein's No. 21 purple for the same
purpose. With this grease paint stick of the color suited to you, draw
a line across the upper eyelid between the eyebrow and the eyelashes,
as close as possible to the lashes. With the fingers blend this line
into a shadow, making it dark close to the upper lashes. Either pencil
can be used for this purpose also. Do not get the shadow up to the
eyebrows, but cover all the upper eyelid, and a little beyond the eye
at the outer corner. Use the Faber No. 6625 blue pencil or Venus 6B
black for shading under the eye. Draw a line with it directly under
the eyelashes, and with the fingers blend this into a shadow. Carried
too far down this blue suggests illness, so be careful. The shadows
thus placed above and below the eyes serve to outline them to the
spectators in the theatre, w