cle of whatever habit he wore
seemed to speak and mark the different humour he represented; a
necessary care in a comedian, in which many have been too remiss or
ignorant." This is confirmed by another critic, who states that Dogget
"could with the greatest exactness paint his face so as to represent
the ages of seventy, eighty, and ninety, distinctly, which occasioned
Sir Godfrey Kneller to tell him one day at Button's Coffee House, that
'he excelled him in painting, for that he could only paint from the
originals before him, but that he (Dogget) could vary them at
pleasure, and yet keep a close likeness.'" In the character of
Moneytrap, the miser, in Vanbrugh's comedy of "The Confederacy,"
Dogget is described as wearing "an old threadbare black coat, to which
he had put new cuffs, pocket-lids, and buttons, on purpose to make its
rusticness more conspicuous. The neck was stuffed so as to make him
appear round-shouldered, and give his head the greater prominency; his
square-toed shoes were large enough to buckle over those he wore in
common, which made his legs appear much smaller than usual."
Altogether, Mr. Dogget's make-up appears to have been of a very
thorough and artistic kind.

Garrick's skill "in preparing his face" has been already referred to,
upon the authority of Mr. Waldron. From the numerous pictures of the
great actor, and the accounts of his histrionic method furnished by
his contemporaries, it would seem, however, as though he relied less
upon the application of paint than upon his extraordinary command of
facial expression. At a moment's notice he completely varied his
aspect, "conveying into his face every possible kind of passion,
blending one into another, and as it were shadowing them with an
infinite number of gradations.... In short," says Dibdin, "his face
was what he obliged you to fancy it: age, youth, plenty, poverty,
everything it assumed." Certainly an engraved portrait of Garrick as
Lear, published in 1761, does not suggest his deriving much help from
the arts of making-up or of costume. He wears a short robe of velvet,
trimmed with ermine, his white wig is disordered and his shirt-front
is much crumpled; but otherwise his white silk hose, lace ruffles,
high-heeled shoes and diamond buckles, are more appropriate to Sir
Peter Teazle than to King Lear. And as much may be said of his
closely-shaven face, the smooth surface of which is not disturbed by
the least vestige of a beard. Yet the Ki