“Eugene Aram”—Sudden change—“Richelieu”— Impersonation fixed in age—“Louis XI.”—“Up against it” in Chicago—“The Lyons Mail”—Tom Mead—Stories of his forgetfulness—“Charles I.”—Dion Boucicault on politics in the theatre—Irving’s “make-up”— Cupid as Mephistopheles. XIV. ART-SENSE 91 “The Bells”—Worn-out scenery—An actor’s judgment of a part—“Olivia”—“Faust”—A master mind and good service—A loyal stage manager and staff—Whistler on business—Twenty-fifth anniversary of “The Bells”—A presentation—A work of art—“The Bells” a classic—Visit of illustrious Frenchmen—Sarcey’s amusement. XV. STAGE EFFECTS 101 “The Lady of Lyons”—A great stage army—Supers: their work and pay—“The Corsican Brothers”—Some great “sets”—A Royal visitor behind scenes—Seizing an opportunity—A Triton amongst minnows—Gladstone as an actor—Beaconsfield and coryphées—A double—A cure for haste. XVI. THE VALUE OF EXPERIMENT 112 “Robert Macaire”—A great benefit—“Our genial friend Mr. Edwards”—“Faust”—Application of science— Division of stage labour—The Emperor Fritz— Accidental effects—A “top angel”—Educational value of the stage—“Faust” in America—Irving’s fiftieth birthday. XVII. THE PULSE OF THE PUBLIC 120 “Ravenswood”—Delayed presentation—The public pulse— “Nance Oldfield”—Ellen Terry as a dramatist. XVIII. TENNYSON AND HIS PLAYS—I 128 Irving on Tennyson—Frankness—Irving’s knowledge of character—The “fighting” quality—Tennyson on Irving’s Hamlet—Tennyson’s alterations of his work—As a dramatist—“First run”—Experts on Greek Art. XIX. TENNYSON AND HIS PLAYS—II 136 Before “Becket”—Irving’s preparation of the play— _Re_ “Robin Hood”—Visit to Tennyson at Aldworth— Tennyson’s humour—His onomatopœia—Scoffing— Tennyson’s belief—He reads his new poem—Voice and phonograph—Irving sees his way to playing “Becket.” XX. TENNYSON AND HIS PLAYS—III 146