Who would recognize this raddled roué as the handsome and eternally youthful-looking Ivor Novello? This is a superb example of the kind of make-up in which the actor's chief object is disguise. Nothing of Ivor Novello is left in Lord George, except the lively dark eyes, set so far apart. The shape of the nose and mouth, the angle of the eyebrows, the colour of the complexion, all are changed in order to obliterate the actor's identity.
