“My brother Rowland’s character is, to a considerable extent, portrayed in the History of Penny Postage; and, amongst the rest, his power of commanding success. But it may be well for me to testify, relative to this quality, that he showed it from a very early age. For myself, I can say that whenever I knew that he had set an object before him, I felt sure that it would be attained; and yet this was not from any high estimate of his talents; for, being less than three years his junior, and perhaps of a more sprightly and imaginative disposition, I fear I was wont to assume in comparing his mental powers with mine, and certainly did not soon recognise their high order. Probably, if I analyzed my feeling at all, I based it chiefly on belief in his perseverance. Again and again I had seen work prosper in his hands, and had had few or no failures to point to; whereas I knew that I was ever devising mighty plans which came to nothing. His early performances were chiefly of a mechanical nature, and diligent practice rendered him very fertile in resources—a fact of which I was well aware years before I could have designated the power by its proper term.” It was in the management of the school theatre that this fertility in resources first became conspicuous. His younger brother, Arthur, had a strong dramatic turn, and was eager, like many another lad of thirteen, to strut and fret his hour upon the stage. Others he found ready to join him, and then for aid and advice he turned to Rowland, who was by two years his senior. “The more I told them about the cost and other difficulties, the more anxious they grew as to the success of their enterprise, until at length, by their joint entreaty, I was prevailed on to assume the management; undertaking myself to paint the scenes, construct the machinery, and direct the whole course of action. I declined to become a performer, having no turn that way.”[35] The young company put their money into a common stock. The Manager recorded in his Journal:—“A code of laws was drawn up for the management of the theatre, and we were very exact in the observance of them. I was constituted manager, with power to appoint the different actors, and, under certain restrictions, to appropriate the funds in what way I pleased.”