Chapeaugraphy By Will Avis THE object of the following article is to introduce to my readers a few of the effects to be obtained from

a simple circle of felt when used in a proper manner. Many articles have been written, more or less explanatory of the pretty art, but at the risk of boring my readers I will with permission of the Editor start from the very beginning and imagine I am taking a class of the veriest tyros in this particular line of entertaining. The very first necessity is assurance, and an unlimited supply of it, for I have never known an act which required more nerve than the Chapeau, the performer having to stand posed before, perhaps, a critical audience and wait their kind applause. It would be absolutely fatal to hurry-scurry through each figure and not give the audience time to obtain a proper survey, although, do not on any account stop too long, for if the audience will not applaud something is wrong; then go home and give that particular figure a little more practice. Facial expression is a most important feature in the show, and when practicing do not endeavor to screw the face up into unrecognizable contortions, but endeavor to bring your mind and whole thoughts into the character you wish to resemble, and you will really be surprised at the difference it will make to your facial expressions. The Face is the Mirror of the Soul is an old saying, and I believe a very true one. Suppose you wish to give a miserable look to your figure, as in The Miserable Man, you can imagine you are hard done by, and when you look into the mirror you appear with one of the most miserable looks it is possible to see. Very shortly you will find you can alter your expression with a thought, as the muscles of the face become gradually educated. Then, again, look what a Frenchman can do with a shrug of his shoulders, a toss of the head; it seems to come naturally to a Frenchman to answer a question or drive a point home with wonderfully expressive gesticulations of his hands and body. A cloak, again, can give a man the look of a Bravo or a clergyman according to the way he wears it: that is one of the reasons a cloak is worn in presenting Chapeau, two others being, firstly, that the performer appears of greater importance in a cloak and interests his audience right away; and, secondly, that the ordinary conventional dress detracts in a great measure from the figure he wishes to represent. From the foregoing remarks the student can easily gather what is most essential to know, and if he is wise he will now turn to the first few figures illustrated an

endeavor to carry out the idea suggested by the artist. He must then come back again and learn to stand properly, so that in a figure, say, of Wellington, he stands in a military way, and not as is very often the case concentrate the whole of his thoughts on his expression and hat. Speed and briskness are also two of the bright gems to be kept before you, as it detracts from the act to see a man turn slowly round as though he doubted his own ability. Put on the hat and arrange the cloak as though you were working very hard, and the more simple the hat the harder you must appear to work, letting the arms and back move in quick actions to suggest an elaborate make-up, and at the same time to disguise the fact that one hat takes you longer to make than another. When the hat is on, catch the required expression and turn sharply round, bringing the cloak into position at the same moment; turn to the audience, wait long School or Choir Boy. The same hat as the schoolmaster, but a large collar will carry out the idea of a laughing boy, the hat being worn well back on the head.

The Schoolmaster. Grasp the ring of felt by the outer edges of the circle and pull fairly tight through the centre hole; this is placed on the head and forms a good mortarboard hat; the cloak is held over the wrists like sleeves and the expression is severe.

Buffalo Bill. The hat worn flat with the head through the hole; a very easy figure.

Fisherman. Pull one edge of felt well through the hole so that the edge of the hole at the pulled-through part just rests on the forehead. Pull downwards and outwards the corners at the back, open mouth and put hand to it as though shouting.

Bumble. If the outer edge is drawn through the centre hole and worn rather forward it will give an impression of the old style three-corner hat, and serves very well to illustrate the beadle of Oliver Twist fame. Turk.

The hat is exactly the same as the Irishman, a tassel being used instead of the ribbon. (See Fig. V.)

Wellington. Draw the outer edges of the hat right through the centre and place upon the head. Stand sideways and point forward with the cloak draped over the extended arms.

The Jesuit. This. is again the same shape as Fig. XI. just named, but worn on the head with the two points the other way, that is, the length running from front to back. A hypocritical expression is best to assume, and the shoulders should be humped. The same hat could be used as an Irish priest with a laughing or severe expression and two white tabs hanging under the chin.

The Inquisitor. Pull the hat through the centre once and give it a twist over so that it fits over the face, covering the ears. A glance at the illustration (Fig. XII.) will make the meaning clear.

The Suffragette. Draw the. outer edge through the centre as you. do for the Scotchman and place the hat on like a bon-net. An imitation umbrella held in the arms and a pair of glasses add to the effect. The false front should be grey.

Dustman. Hold the hat in a plain circle and place one hand through the centre and grasp one part of the outer edge, draw it through and place the hat on the head so that the felt assumes the shape as illustrated. The part drawn through will lay over the front of the head; the part left at the back touching the shoulders will form a grip to keep the hat on.

Napoleon Bonaparte. This is a difficult hat to do well. The correct style is to pull one end through hole until it stands up straight so that the edge of the hole where it is pulled through will rest on forehead, as for dustman, right over the curl. Place upon head and press up the back, which will be hanging down, until it is parallel with this front piece, only stands higher and larger behind it. Pull down the two side corners slightly. The scalp is fitted with a lock of hair, the shoulders being humped, and a very stern expression assumed. The cloak is folded up into the arms by gripping two edges and folding the arms; this gives a very good hang to the cloak.

The Chinaman. Take one edge of hat, thrust it through the hole and pull tight; then push it once again through hole and pull tight; place upon the head showing no hair. Screw up the eyes and mouth and hold up two fingers.

Mephisto. Draw both outer edges through the centre hole and draw down until the two points stand up to form horns; the face is greatly drawn to open the eyes and mouth and the cloak held high, under the chin or above the head to represent folded wings.

The Jester. Fold the hat so that the two points project as in the devil, and wear on the back of the head, the cloak being worn over the shoulders as shown.

Nelson. This makes a good figure, the hat worn being the reverse of Wellington.

Gendarme The same hat as given in Napoleon but worn so that the back portion does not stand so high. The act will be found suitable in every way for a lady, and some very good effects are obtainable by making combinations of two characters, a lady and gentleman, working as partners. The Ghost can be formed by placing a white silk handkerchief over the face, laying the hat so that the face covered by the silk is through the hole in the centre. If the silk is quickly drawn into the mouth and blown out again the ghost looks very funny. Any hat may be used to represent the yokel that is found suitable for the character. Scotchman. This is formed by drawing the outer edge through the centre, and drawing fairly tight; this forms a very fair Glengarry cap. Two black ribbons will give a good effect tucked under the back piece. (See Fig. XIII.) The Costermonger. This hat is made just as the Scotchman, by pulling one edge through the centre, but is placed upon the head with the back to the front and the point tucked under the hat on the forehead. The Clown. This is the Scotchman turned upside down, with the point straight up in the air, and the rim from centre of forehead to back of head turned up all round.