When the move was made from Devonshire Terrace to Tavistock House—a far larger and handsomer house than the old home—Charles Dickens promised his daughters a better bedroom than they ever had before, and told them that he should choose “the brightest of papers” for it, but that they were not to see “the gorgeous apartment” until it was ready for their use. But when the time came for the move, and the two girls were shown their room, it surpassed even their expectations. They found it full of love and thoughtful care, and as pretty and as fresh as their hearts could desire, and with not a single thing in it which had not been expressly chosen for them, or planned by their father. The wall-paper was covered with wild-flowers, the two little iron bedsteads were hung with a flowery chintz. There were two toilet-tables, two writing-tables, two easy chairs, etc., etc., all so pretty and elegant, and this in the days when bedrooms were not, as a rule, so luxurious as they are now. Notwithstanding his constant and arduous work, he was never too busy to be unmindful of the comfort and welfare of those about him, and there was not a corner in any of his homes, from kitchen to garret, which was not constantly inspected by him, and which did not boast of some of his neat and orderly contrivances. We used to laugh at him sometimes and say we believed that he was personally acquainted with every nail in the house. It was in this home, some few years later, that the first grown-up theatricals were given. And these theatricals were very remarkable, in that nearly every part was filled by some celebrated man in either literature or art. Besides being a really great actor, Charles Dickens as a manager was quite incomparable. His “company” was as well trained as any first-class professional company, and although always kind and pleasant, he was feared and looked up to by every member of his company. The rehearsals meant business and hard work, and sometimes even tears to a few, when all did not go quite satisfactorily. Each one knew that there could be no trifling, no playing at work. As in the children's performances so in these later ones did he know every part, and enter heart and soul into each character. If any new idea came into his head, he would at once propound it to the actor or actress, who, looking upon that earnest face and active figure, would do his or her very best to gain a managerial smile of approval. He had a temporary theatre built out into the garden, and the scenes were painted by some of the greatest scene-painters of the day. A drop-scene, representing Eddystone lighthouse, by the late Clarkson Stanfield, R.A., was afterwards framed and covered with glass, and hung in the entrance hall of Gad's Hill.