Inthis, physical expression is given to the profound spiritual conflict that takes place within a man of definitely dual personality.
He alternately comes under good and evil influences, each transition coming suddenly. As the changes occur while the character is in view of the audience, the whole effect has to be produced by the altered expression of face and of form.
When working this character up I studied the effect in a full-length mirror, striving constantly to make one character more and more dignified, while the other was persistently degraded, till, ultimately, I attained the most distinctive contrast of character that it was possible to achieve without the aid of artificial make-up.
Thisprint is included that it may be compared with the actual Holbein print. It shows how important accuracy of detail in the costuming of a part is.
When I impersonated this character in the Chelsea Pageant, every London paper commented on the success of the make-up, theTimessaying, if the Chancellor were to rise from the grave even he could hardly tell the difference between us; theStandard, that I realised Holbein's portrait with startling fidelity, and theDaily News, that I looked as if I had stepped directly out of Holbein's well-known canvas; while theSketchandRefereecalled me a living Holbein.