To my own mind _Waterloo_ as an acting play is perfect; and Irving’s playing in it was the high-water mark of histrionic art. Nothing was wanting in the whole gamut of human feeling. It was a cameo, with all the delicacy of touch of a master-hand working in the fine material of the layered shell. It seemed to touch all hearts always. When the dying veteran sprang from his chair to salute the colonel of his old regiment the whole house simultaneously burst into a wild roar of applause. This was often the effect at subsequent performances both at home and in America. II In 1897, when representatives of the Indian and Colonial troops were gathered in London for the “Diamond” Jubilee of Queen Victoria, Irving gave a special performance for them. It was a _matinée_ on June 25. The event was a formal one, for it was given by Royal consent, and special arrangements were made by the public officials. Some two thousand troops of all kinds and classes and costumes were massed at Chelsea Barracks. The streets were cleared by the police for their passing as they marched to the Lyceum to the quickstep of the Guards’ Fife and Drum Band, the public cheering them all the way. They represented every colour and ethnological variety of the human race, from coal black through yellow and brown up to the light type of the Anglo-Saxon reared afresh in new realms beyond the seas. Their drill seemed to be perfect, and we had made complete arrangements for their seating. Section by section they marched into the theatre, all coming by the great entrance, without once stopping or even marking time in the street. In the boxes and stalls sat the Indian Princes and the Colonial Premiers, and some few of the foreign guests. The house was crammed from wall to wall; from floor to ceiling; the bill was _Waterloo_ and _The Bells_. No such audience could have been had for this military piece. It sounded the note of the unity of the Empire which was then in celebration; all were already tuned to it. The scene at the end was indescribable. It was a veritable ecstasy of loyal passion. _Waterloo_ was played by Irving eighty times in London; one hundred and seventy-seven times in the provinces; and eighty-eight times in America— in all three hundred and forty-five times, the last being at London on June 15, 1905. III For a long time Irving had in view of production a play on the subject of King Arthur. He broached the subject to Tennyson, but the latter could not see his way to it. He had dealt with the subject in one way and did not wish to try it in another. Then he got W. G. Willis to write a play; this he purchased from him in 1890. As, however, he did not think it would act well, he got Comyns Carr to write another some three years later.