Jonson's painted creatures have many fellows in other plays of the period, but no playwright uses cosmetics so extensive-ly as Jonson. This paper explores the face painting in one of his plays Epicene, or the Silent Woman from the perspective of New His-toricism. It analyzes the early modern canon of beauty and how women in Epicene follow the canon to beautify themselves, from Jon-son's description the general ideas of his attitudes on face-painting are given. The essay integrates the historical context of the sev-enteenth century with Jonson's text to provide new insight into Jonson's sarcasm, humour and seventeenth century's cosmetic cul-ture.