But if she must resort to artificial beauty, let her be artistic about it, and not lay on paint as one would furniture polish, to be rubbed in with rags. The best and cheapest powder is refined chalk in little pellets, each enough for an application. Powder is a protection and comfort on long journeys or in the city dust. If the pores of the skin must be filled, one would prefer clean dust, to begin with. A layer of powder will prevent freckles and sun-burn when properly applied. It cools feverish skins, and its use can be condoned when it modifies the contrast between red arms and white evening dresses. In amateur theatricals it is indispensable, the foot-lights throwing the worst construction on even good complexions. In all these cases it is worth while to know how to use it well. The skin should be as clean and cool as possible, to begin. A pellet of chalk, without any poisonous bismuth in it, should be wrapped in coarse linen and crushed in water, grinding it well between the fingers. Then wash the face quickly with the linen, and the wet powder oozes in its finest state through the cloth, leaving a pure white deposit when dry. Press the face lightly with a damp handkerchief to remove superfluous powder, wiping the brows and nostrils free. This mode of using chalk is less easily detected than when it is dusted on dry. The best foundation for Lubin’s powder is gained by soaping the face well, and taking care not to rinse off all the smooth, glossy feeling it leaves. Dry the face without wiping, and the thinnest layer of oil is left, which holds the dry powder, without that mealy look which Lubin is apt to leave. To whiten the arms for theatricals, rub them first with glycerine, not letting the skin absorb it all, and apply chalk. The country practice is to substitute a tallow candle for the glycerine; but ours is a progressive age. At least the moral feeling leads one to spare an escort’s coat-sleeve.