ng his personality. Those who have seen
this admirable actor as Henry Jackson in _The Return of the Prodigal_,
as Lord Charles Cantelupe in _Waste_, and Mr Wylder in _Strife_, must
admit that changes of voice, of gesture and manner, and general
expression of countenance are of greater value than tons of the
cleverest make-up.

The service of make-up in its higher branches is merely to render, or,
rather, seem to render, actors fit for tasks for which they are
physically unsuited. Take for instance, the nose; there is a picture of
Mr Morton with flattened nose and enlarged nostrils; he is said to
represent Othello. "The nose is first depressed by crossing it near the
tip with a silk thread, which is tied at the back of the head. A small
piece of kid is placed under the thread, thus keeping it from coming in
contact with the skin. The nostrils are built out until the nose has a
Moorish appearance."

Now, nobody thinks a whit the worse or less of Mr Forbes Robertson's
Othello because he played no tricks with his striking aquiline nose; and
the idea that he would have gained anything by flattening it with a bit
of silk thread is absurd. What he would have gained would have been a
feeling of physical inconvenience during the quiet passages, and terror
during the tremendous scenes of passion at the thought that the string
might snap.

There are photographs of other noses, built up with nose-paste or,
preferably, with "toupee" paste; one is of Falstaff, another of Shylock,
and there is also one called "the Professor." In each case the whole
nose looks wooden; it may be suggested that in an ordinary way movements
of the nose do not play much of a part in expressing emotions, yet we
have phrases about swelling nostrils and turning up one's nose that
possess some foundation in fact. Further, one can hardly render the nose
a dead thing without, to some extent, effecting the mobility of other
features. Probably the built-up nose of Coquelin as Cyrano de Bergerac
will be thrown in my face; it must, however, be remembered, that apart
from his large elastic mouth Coquelin's face was rather wooden, and he
relied for expression chiefly on voice, mouth, gesture and movement. No
doubt in this particular character there is a necessity, and, therefore,
a justification for a built-up nose; but more than one actor has failed
to fight successfully against the artificial proboscis of Cyrano.

Used as more than a counteracting or embellishin