The traditional laws which govern these things are deep seated in trade rights and customs, and are grave matters to interfere with. In the production of _Faust_ much of the scenery was what is called “built out”; that is, there are many individual pieces—each a completed and separate item, such as a wall, a house, steps, &c. So that in this particular play the property department had a great deal to do with the working of what might be broadly considered scenery. When Irving was about to do the play he made a trip to Nuremberg to see for himself what would be most picturesque as well as suitable. When he had seen Nuremberg and that wonderful old town near it, Rothenburg, which was even better suited to his purpose, he sent for Hawes Craven. That the latter benefited by his experience was shown in the wonderful scenes which he painted for _Faust_. He seemed to give the very essence of the place. III When the Emperor Frederick—then Crown Prince of Germany—came to the Lyceum to see _Faust_, I was much struck by the way he spoke of the great city of the Guttenbergs and Hans Sachs. He had come alone, quite informally, from Windsor, where he was staying with Queen Victoria. As he modestly put it in his own way when speaking to me? “The Queen was gracious enough to let me come!” He was delighted and almost fascinated with the play and its production and acting. I had good opportunity of hearing his views. It was of course my duty to wait upon him, as ceremonial custom demanded, between the acts. In each “wait” he went into the Royal room to smoke his cigarette, and on each occasion was gracious enough to ask me to join him. Several times he spoke of Nuremberg with love and delight, and it seemed as if the faithful and picturesque reproduction of it had warmed his heart. Once he said: “I love Nuremberg. Indeed I always ask the Emperor to let me have the autumn manœuvres in such a place that I can stay there during part of the time they last!” IV