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.