l displays. But then the spectators were in like
case; and _"explosions d'un nuage blanc"_ were probably of too common
occurrence to excite derision or even attention.

Wigs are still matters of vital interest to the actors, and it is to
be noted that the theatrical hairdressers have of late years devoted
much study to this branch of their industry. The light comedian still
indulges sometimes in curls of an unnatural flaxen, and the comic
countryman is too often allowed to wear locks of a quite impossible
crimson colour. Indeed, the headdresses that seem only contrived to
move the laughter of the gallery, yet remain in an unsatisfactory
condition. But in what are known as "character wigs" there has been
marked amendment. The fictitious forehead is now very often artfully
joined on to the real brow of the performer, without those distressing
discrepancies of hue and texture which at one time were so very
apparent, disturbing credibility and destroying illusion. And the
decline of hair in colour and quantity has often been imitated in the
theatre with very happy ingenuity. Heads in an iron-gray or partially
bald state--varying from the first slight thinning of the locks to the
time when they come to be combed over with a kind of "cat's cradle" or
trellis-work look, to veil absolute calvity--are now represented by
the actors with a completeness of a most artistic kind. With the
ladies of the theatre blond wigs are now almost to be regarded as
necessaries of histrionic life. This may be only a transient fashion,
although it seems to have obtained very enduring vitality. Dr. Veron,
writing of his experiences as manager of the Paris Opera House forty
years ago, affirms: _"Il y a des beautes de jour et des beautes du
soir; une peau brune, jaune, ou noire, devient blanche a eclat de la
lumiere; les cheveux noirs reussissent mieux aussi au theatre que les
cheveux blonds."_ But the times have changed; the arts of the
theatrical toilet have no doubt advanced greatly. On the stage now all
complexions are brilliant, and light tresses are pronounced to be more
admirable than dark. Yet Dr. Veron was not without skill and learning
on these curious matters. He discourses learnedly in regard to the
cosmetics of the theatre--paint and powder, Indian ink and carmine,
and the chemical preparations necessary for the due fabrication of
eyebrows and lashes, for making the eyes look larger than life, for
colouring the cheeks and lips, and white