(A list of period makeup materials, as a matter of historical interest. Modern makeup is much easier to use and on the skin! And yes, "émail" is French for enamel!)
It may not be amiss just here to give a list of "make-up" materials such as are used for theatricals and for masquerades when masks are not worn:
Prepared Fuller's Earth. -- To powder the face with before making up.
Powdered Blue. -- For imitating a shaven chin.
Pearl Powder. -- To whiten the complexion, hands and arms.
Rouge. -- Absolutely indispensible before footlights, which apparently bleach the rosiest complexion to a sickly hue.
Ruddy Rouge. -- For imitating tan and sunburn.
Dutch Pink. -- For sallow complexions.
Mongolian. -- For imitating the complexion of Orientals or North American Indians.
Powdered Antimony. -- To produce the effect of hollows under the eyes and in the cheeks.
Chrome. -- To imitate a sallow complexion and lighten the natural color of the whiskers or mustache.
Carmine. -- To produce a red tint in the same.
Prepared Whitening. -- For clowns' faces, statuary, etc.
Prepared Burnt Cork. -- For minstrels or other negro characters.
Émail Noir (black enamel). -- For applying to a front tooth to produce the effect of being missing.
Joining Paste. -- To apply over the edge of a wig across the forehead.
Paste Powder. -- For "building up" a nose.
Crape Hair. -- Artificial hair sold in plaits for forming wigs, eyebrows, moustaches, etc., etc.
Spirit Gum. -- For attaching such hair to the face.
Crayons d'Italie. -- Pencils for marking veins.
Eyebrow pencils, camel's-hair brushes, powder puffs, etc.
With these assistants the face may be so made up that no mask will be needed and the disguise will still be complete, especially when the complexion is changed from either blonde or brunette to its opposite.
Masquerade and Carnival. New York: The Butterick Publishing Company, 1892.