Another Princess's experience was her appearance as a diminutive "Tiger" page-boy in a farce by Edmund Yates, entitled "If the Cap Fits," and she confesses to the infinite pride she took in her pair of miniature and rather tight-fitting top-boots. Here again, though in a different way to her Shakespearean representations, genuine success was secured. In his interesting volumes of "Reminiscences" Edmund Yates records the production, saying, that "'If the Cap Fits' was admirably acted by, amongst others, Mr. Frank Mathews, Mr. Walter Lacy, and Miss Ellen Terry ... who played a juvenile groom, a 'tiger,' with great spirit and vivacity." And, much later on, he says: "In the present days of genuine heroine-worship, with recollections full upon us of Beatrice, Viola, Olivia, and Camma, it seems odd to read, in connection with this slight comedietta, that Miss Ellen Terry is worthy of praise for the spirit and point with which she played the part of a youthful groom." Evidently she believed in the same doctrine as, in his early days, Colley Cibber did. Weary of being told that the parts he wanted to attempt were "not in his way," he protested: "I think anything, naturally written, ought to be in everybody's way that pretends to be an actor." Ellen Terry could not agree with those critics who declared that Charles Kean went too far in the mounting of his plays. The theatre-goers of those days had not been taught to expect beautiful and correct scenery, and exact accuracy in costume; and some of them actually resented it, leaning to the view held by Kean's contemporary and friend, Dr. Westland Marston, who considered that in some of the spectacular revivals at the Princess's, unnecessary pageantry was not only introduced but absolutely obtruded. For example, he said that in the beautiful production of Richard II. a display of too minute correctness in armorial bearings, weapons and household vessels made the stage an auxiliary to the museum, and forced it to combine lessons on archæology with the display of character and passion. Such were the thanks that Charles Kean received for his indefatigable and scholarly research, and lavish expenditure! How he would have loved to hear his little Mamillius and winsome Puck declare in the days of her fame, and when hers had become a voice in the land greater than his own, that with rare perception he had opened his eyes to the absurd anachronisms in costume and accessories which prevailed at that period, and that he established a system which has been perfected by Sir Henry Irving and his contemporaries. To have been a pioneer in good work eventually means fame, but pioneers are apt to be distrusted by those who have not the courage to accompany them on their explorations. She also draws an apt comparison between the remuneration and work of the actors of the Charles Kean days and now.