It was in the summer of 1811 that they formed their plans; but it was not till the Easter of the following year that they were ready to give their first performance. Their difficulties were great. The school-room was to be their theatre; and in the school-room they could only work before the boys had risen, and after they had gone to bed. In the code of laws which governed the company, it was laid down that they should rise an hour before the usual time. Whatever scenery they set up had always to be taken down before lessons began. The room was long, but narrow, and not lofty enough to allow the scenes, at the time of shifting, to be drawn up. Not one of the company had ever been behind the curtain of a real theatre. Rowland, however, undertook to be architect, carpenter, scene-painter, and manager. He had, by this time, become most expert in the use of his tools. He was never so happy as when he was working in his carpenter’s shop. His knowledge of drawing and painting was also turned to good account. He began by carefully planning his work, and taking the most exact measurements. So accurately had everything been contrived beforehand, that when the scenes and their supports came to be put up they all fell at once into their proper places. The young company was greatly hampered by want of funds, and had from time to time to turn from the theatre to more than one plan of raising money. Among other “ways and means,” they set up a manufactory of fire-balloons, and gained some money by the tickets of admission that they sold to those who witnessed the ascent. At first they could only afford the simplest of materials for their scenes. These were painted on brown paper, the sheets being glued together. The side-scenes were painted on both sides, and revolved, in changing, on a pivot in the middle. Each season saw, however, an increase of magnificence, and some of the young artist’s scenery was so strongly made and so carefully painted that it has been in use even in the last few years.