Irving felt that with such an artist to help—archæologist, specialist, and genius in one—he would be able to put before an audience such work as would not only charm them by its beauty and interest them in its novelty, but would convince by its suitability. For there is an enormous aid to conviction in a story when those who follow it accept from the beginning in good faith the things of common knowledge and use which are put before them. I often say myself that the faith which still exists is to be found more often in a theatre than in a church. When an audience go into a playhouse which is not connected in their minds with the habit of deceit they are unconsciously prepared to accept all things _ab initio_ in the simple and direct manner of childhood. When therefore what they see is _vraisemblable_—with the manifest appearance of truth to something—all the powers of intellectual examination and working habit come into force in the right direction. In that summer of 1879 when Irving announced _Coriolanus_ he also announced several other plays. It was not, of course, his intention to produce these plays all at once, but one by one as occasion served. As has been seen, the putting on of _The Merchant of Venice_ and its phenomenal success shelved or postponed most of the plays then announced; but Irving did not lose sight of _Coriolanus_. One morning in the following winter, whilst Sir Laurence Alma-Tadema, as he himself told me, was in his studio in his house in North Gate, Regent’s Park, he heard the sound of sleigh bells coming over the bridge. Naturally his thoughts went back to _The Bells_ and Irving, for no one who has seen the play can hear the sound unexpectedly without the thought. He heard the sound stop at his own gate; and whilst wondering what it could mean Irving was announced. He was accompanied by Mr. W. L. Ashmead Bartlett, who afterwards took his present name on his marriage to the Baroness Burdett-Coutts. Irving at once entered upon the subject of his visit; and the great painter was charmed to entertain it. As was usual with him when working on a new play, Irving had a rough scenario in his mind, and he and Alma-Tadema spoke of it then and there. Irving could tell him of the scenes he wanted and give some hints not only as to their practical use but of the ideas which he wished them to convey. When he had gone Alma-Tadema took down his Shakespeare and began his own study of the play. The continuous success of _The Merchant of Venice_ gave him ample time, and his studies and designs were unique and lovely. III