I explained, however, that on the following Monday a small payment of £10,000 would be due to me; also that a further deposit on Drury Lane would become payable, and that I should make that deposit, as it was probable, nay, very possible, that I should be called upon to resume my position at Drury Lane, instead of Covent Garden. I at the same time recommended Mr. Gye at all events to be prepared to open Covent Garden, as it wanted but some three or four weeks to the beginning of the season. This he replied he could not do, as the deposit he was to receive would not be payable before some three or four weeks. He still, moreover, doubted all I had been telling him. On the Monday following I attended at the Egyptian Bank, which had been specially hired for the occasion, and on entering with my order for the payment of £10,000, found one small boy seated on a very high stool, drawing figures on a sheet of blotting paper. On my demanding £10,000 the boy turned deadly pale and was at first inclined to run. I explained to him that it was not his fault if the money was not forthcoming, but I requested him, in the presence of a witness I had brought with me, to present seven letters which I already had in my pocket, each one containing notice to the Directors that, they having failed to pay me my money at the appointed time, my contract as general manager was at an end. I at once informed Gye of what had occurred, recommending him again to get his Company together and re-engage Costa and the orchestra, as my own prospectus was to come out the middle of that week. From what I afterwards learned, the £200 my musical friend's son was to have advanced prevented some thousands of circulars from being posted for want of stamps, and the printer from delivering the remainder of the circulars he had prepared for want of a deposit. I must add that Mr. Gye repeatedly thanked me for my straightforward conduct in preventing him from being practically ruined. Considerable changes were necessary in adapting the Theatre Royal, Drury Lane, for Italian Opera. I was obliged to have sundry discussions with the Committee before I could be allowed to alter the floor of the pit and boxes, and to take about twenty feet off the stage, its removal enabling me to add some two or three rows of stalls. I had, moreover, to decorate, clean, and carpet the house from top to bottom, the outlay for which, irrespective of the rent, cost me from £3,000 to £4,000. A further difficulty presented itself, as there were some six or seven hundred renters who were at that time allowed free admission to any part of the theatre, and it was only by temporizing with their representatives that I ultimately made an equitable arrangement satisfactory to all parties.