But it was to Irving that the scene owed most of its beauty and grandeur. Hitherto, in all pagan ceremonials on the stage—and, indeed, in art generally—priestesses and votaries were clothed in white. But he, not finding that there was any authority for the belief, used colours and embroideries—Indian, Persian, Greek—all that might add conviction and picturesque effect. Something like a hundred beautiful young women were chosen for Vestals; and as the number of persons already employed in _The Corsican Brothers_ was very great, the stage force available for scenic display was immense. Irving himself devised the processions and the ceremonies; in fact he invented a ritual. One of the strange things about the audience all through the run of the play was the large number of High Church clergy who attended. The effect of the entry into the Temple of the gorgeously armoured Roman officers was peculiarly strong. IV It is seldom given to man, however, to achieve full perfection. When _The Cup_ had been running for a considerable time, Dr. Alexander Murray, whom at first we had in vain tried to persuade, came to see it. We were all anxious to know how the Greek-Eastern effect impressed him, and I made it a point to see him at the end of the play. When I asked him how he liked it he said: “Oh, I liked it well enough at first; but when the Temple scene came it was different. At the beginning two girls came on bearing a great amphora; but you will hardly believe me when I tell you it had red figures on a black ground, instead of black figures on a red ground. I need not say that after that I could enjoy nothing!” Both forms of using the colours were practised in the history of Etruscan art, and our people, since the time of the play was somewhat indeterminate, used the older one. The dress of Ellen Terry as Camma in this scene was a difficult matter. It had for stage purposes to be one which would stand out distinct and apart from the rest. Dress after dress was tried, stuff after stuff was chosen; but all without satisfaction. At length, as the opening night drew near, she began to get seriously anxious. Finally, as a last resource, she asked me to try and find her something. I had been peculiarly lucky in coming across just such stuffs for dresses as she had seemed to want. Now I went off, hot-foot, and was fortunate enough to find, through turning over a whole stock of material at Liberty’s, an Indian tissue of a sort of loosely woven cloth of gold, the _wrong_ side of which produced the exact effect sought for. I may here say that a good many of the special effects on the Lyceum stage were got by using the inside instead of the outside of stuffs. Among them was the basis of Irving’s dress as Shylock. _The Cup_ was produced on the evening of January 3, 1881. It was an immense success, and was played one hundred and twenty-seven times that season. It was burned in the great scenery fire in 1898.