After the curtain had finally fallen the whole of the company and all the employees of the theatre gathered on the stage for a presentation to Irving to commemorate the remarkable occasion. One and all without exception had contributed in proportion to their means. Most of all, Alfred Gilbert, R.A., who had given his splendid genius and much labour as his contribution. Of course on this occasion it was only the model which was formally conveyed. The form of the trophy was a great silver bell standing some two feet high, exquisite in design and with the grace and beauty of the work of a Cellini; a form to be remembered in after centuries. I had the honour of writing the destined legend to be wrought in a single line in raised letters on a band of crinkly gold on the curve of the bell. Gilbert had made a point of my writing it, and be sure I was proud to do so. It ran: HONOUR TO IRVING THROUGH THE LOVE OF HIS COMRADES I RING THROUGH THE AGES. Gilbert was enthusiastic about it, for he said it fulfilled all the conditions of the legend on a bell. In the first place, according to the ancient idea, a bell is a person with a soul and a thought and a voice of its own; it is supposed to speak on its own initiative. In the second place, the particular inscription was short and easily wrought and would just go all round the bell. Moreover from its peculiar form the reading of it could begin anywhere. I felt really proud when he explained all this to me and I realised that I had so well carried out the idea. VII It may perhaps be here noted that according to the tradition of the Comédie-Française a play becomes a classic work when it has held the boards for a quarter of a century. The director, M. Jules Claretie, asked Irving if they might play _The Bells_ in the House of Molière. Of course he was pleased and sent to Claretie a copy of the prompt-book and drawings of the scenes and appointments.