[58] On March 18, 1893, Irving and his whole company were bidden to Windsor Castle to play ‘Becket’ before her Majesty. A theatre was fitted up in the Waterloo Chamber; special scenery was painted; the Lyceum was closed; and the company, 170 strong, was transported to Windsor and brought back on the same night. The performance was given with much effect and to the enjoyment of the Queen. Some three or four years before, a no less interesting entertainment was arranged at Sandringham by the Prince of Wales, who was anxious that her Majesty should see the two favourite performers in their most effective pieces—‘The Bells’ and the “Trial scene” in ‘The Merchant of Venice,’ The outlay of time, trouble, and skilful management to provide for all the arrangements within a short space of time can scarcely be imagined. The pecuniary cost, owing to the closing of the theatre, transport, etc., was serious. [59] An Irving “Bibliography” would fill many columns, and would include a vast quantity of controversial writing—attacks, defences, and discussions. Besides his official discourses, he has written many agreeable papers in the leading “monthlies.” I have already spoken of the “skits” and personalities which followed his early successes, and which he encountered with excellent temper and a patient shrug. These have long since been forgotten. At attempts at “taking him off,” though a favourite pastime, he could afford to smile; though when it was carried beyond legitimate bounds, as in the instance of the late Mr. Leslie, he interposed with quiet firmness, and put it down in the interests of the profession. An American burlesque actor, named Dixie, with execrable taste gave an imitation of him in his presence. More curious is the unconscious imitation of him which is gaining in the ranks of the profession, and which has had some droll results. Thus one Hudson—when playing the Tetrarch in ‘Claudian’ in the States—was so strangely like him in manner and speech, that it was assumed by the American audience that he was maliciously “taking him off.” His own company have caught up most of his “ways” and fashions—notably Haviland, and even Alexander. At the opening of ‘Vanderdecken,’ two at least of the performers were mistaken for him—from their walk—and had a “reception” accordingly. [60] This “triple bill” is an unmeaning term, for a triple bill means, if anything, three bills in one, and not, as is supposed, a single bill in three parts.