“Miss Terry: ‘It would be better if it were done at the foot of the steps. The people needn’t show their faces as they do it, and the effect will be so much better.’” ‘Becket’ contained thirty characters, and was set off by fine scenery and excellent music, written specially by Professor Stanford, this not being the first time his notes had been associated with the poet. Never have Irving’s efforts been greeted with such overpowering, tumultuous applause. At the end of every act there were as many as five “recalls.” In such pieces, as well as in some of Shakespeare’s, there is always a matter of interesting debate in fixing the era, dresses, architecture, etc.—a matter perhaps of less importance than is supposed. Irving’s conception of ‘Becket’ was truly picturesque and romantic; he imported a pathetic tone, with a sort of gloomy foreboding of the impending martyrdom, conveyed by innumerable touches. The actor has the art of moulding his features and expression to the complexion of the character he is performing nightly. Thus, in ‘Becket,’ it can be seen that he had already assumed the meditative, wary look of the aspiring ecclesiastic. It is evidence of the interest excited by ‘Becket,’ that a little discussion arose between a Benedictine Father and another ecclesiastic on the hymn, “Telluris ingens Conditor,” which was played in the cathedral scene and through the piece. The Benedictine contended that it must have been some older form of the hymn before the pseudo-classicalization “of the Breviary Hymns in the sixteenth century.” “I do not suppose,” he added, “that Mr. Irving’s well-known attention to detail extends to such _minutiæ_ as these. The famous cathedral scene, in his presentment of ‘Much Ado about Nothing,’ was received with a chorus of praise as a marvel of liturgical accuracy. But I am told that to Catholic eyes at least some of its details appeared incorrect.” Thus, to the monastery even, does the fame of our manager’s efforts reach! One of the most remarkable things connected with ‘Becket’ was the unanimous applause and approbation of the entire press.[58] Even one or two evening papers, which had spoken with a little hesitation, returned to the subject a few nights later to correct their judgment and to admit that they had been hasty. All confessed that they had been captivated by the picturesqueness of the central figure.