But how were these extraordinary faces produced? First, we will refer our readers to the diagram, which will explain a good deal, and then throw what light we can on the subject with words.
The face of the Colonel was made by painting an entire set of features on the forehead with India-ink. The white of the eyes in both cases was effected by wetting the finger and rubbing it on an enamelled visiting-card; by this means you take a good deal of the white from the card which can be transferred to the proper place on the forehead. In the case of the Colonel, if the performer moves his eyebrows up and down as he is speaking, it will communicate a motion to the pointed moustaches, and a most comical expression to the entire face.
To make the second face, you must, if possible, get some one with very light eyebrows and no moustaches; then paint eyes and eyebrows on the forehead, which must be done artistically, shadows and all, and connect them, as represented, with the bridge of the nose, paint heavy black moustaches, and your performer will have the appearance of possessing an immensely long face; he must, however, keep his eyes shut, or the illusion will be dispelled.
After this performance, the scene, as painted on our memory, resolves itself into blue eyes, pink ribbons, bunchy skirts, oranges, candies, lemonades, wax-lights, Christmas-trees, Aunty Delluvian, and endless smiling faces.
May all good people have as foolish, merry a Christmas as we had at Aunty Delluvian's!
Hanky-panky is the name of a certain art practised by pantomimists of the clown and harlequin school, and is the subject of no little study and practice. We do not think it within our power to define hanky-panky, composed as it is of fictitious whackings and kickings and smackings, unless, indeed, that be a definition. We can, however, give a couple of illustrations of the art as it may be practised in the family circle. We may look further into the matter at some future day, and possibly issue a volume of Parlor hanky-panky, beautifully illustrated by the author.
The first example we shall now give is how to knock your knuckles on the edge of a marble mantel-piece or other hard substance without hurting them. It is done thus: You raise your clenched fist high in the air, hold it poised there some seconds for all the audience to see, and then bring it swiftly down; but just before your hand reaches the object, open your fingers quickly, so they will strike the object with a sharp slap, then close them quickly; if this is neatly done, it will appear as if you had struck your knuckles a violent blow. This will make the ladies scream, and every one else thrill of horror.