It followed therefore, almost as a matter of course, that the theatre, without any exertion on his part, would, as it were, drop into his hands. He at once prepared to carry out his venture on the bold and sumptuous lines which have since made his reputation. The poor lady naturally fancied that she had a grievance; but her complaint ought in truth to have been directed against the hard fate which had placed her in a position that was above her strength.[17] With much gallantry and energy she set herself to do battle with fortune in a new and lower sphere. She secured the old theatre at Islington, which she partially rebuilt and beautified, and on the opening night was encouraged by a gathering of her old friends, who cheered her when she appeared, supported by her two faithful daughters. Even this struggle she could not carry on long. She took with her some of her old company, Bentley, the Brothers Lyons, and others, and she furnished melodramas, brought out in a somewhat rude but effective style, suited to the lieges of the district. Later Mr. Charles Warner, greatly daring, gave a whole course of Shakespearian characters, taking us through the great characters _seriatim_. It was indeed a very astonishing programme. But the truth was, she had fallen behind the times; the old-fashioned country methods would no longer “go down.” In a few years she gave up the weary struggle, and, quite worn-out, passed away to join the “old Colonel.” CHAPTER VI. 1878. THE NEW MANAGER OF THE LYCEUM—MISS TERRY—HIS SYSTEM AND ASSISTANTS. The Lyceum was designed by a true architect at a time when a great theatre was considered to be a building or monument, like a public gallery or museum. In these days little is thought of but the _salle_ or interior, designed to hold vast audiences in galleries or shelves, and laid out much like a dissenting chapel. The Lyceum is really a fine structure, with entrances in four different streets, an imposing portico, abundance of saloons, halls, chambers, and other _dependances_, which are necessary in all good theatres. There is a special grace in its lobby and saloon, and in the flowing lines of the interior, though they have suffered somewhat from unavoidable alterations.[18] The stage is a truly noble one, and offers the attraction of supplying a dignity and theatrical illusion to the figures or scenes that are exhibited upon it; thus contrasting with the rather mean and prosaic air which the stages of most modern houses offer. This dignified effect is secured at a heavy cost to the manager, for every extra foot multiplies the area of scenery to a costly degree, and requires many figures to fill the void. Beazely, a pleasant humorist and writer of some effective dramas, was the architect of this fine temple, as also of the well-designed Dublin Theatre, since destroyed by fire.[19]