There, just by the long pier glass, is the old fashioned oak dressing-table, of a pattern associated with the days of King Arthur--in fact, the table has done duty in "Macbeth" in one of the banqueting scenes. Handle some of the veritable curiosities on it. The very looking-glass is tied up with string--it has reflected its owner's face for fourteen years, and went across the Atlantic with him. The old pincushion went as well. On a chair are the actor's eye-glasses, which he always uses when making up. Scissors, nail parers, &c., are about, whilst the paints lie in a little side cabinet by the looking-glass, and four diminutive gallipots are conspicuous, filled with the colours mostly used. A great tin box of crepe hair is also at hand, for Mr. Irving makes all his own moustaches. He gums a little hair on where needed and then works in colour to get the effect. The wicker hand-basket is interesting. The dresser carries this to "the wings" when the actor needs a rapid change of "make-up." It has three compartments, holding a glass of water, powder puff, saucer containing fuller's earth, cold cream, hare's foot, lip salve, rouge, and a remarkably old comb and brush. Here is a striking collection of rings; a great emerald--only a "stage" gem, alas!--is worn in "Louis XI." and "Richelieu," whilst here is one worn as _Doricourt_ in the "Belle's Stratagem," the space where the stone ought to be being ingeniously filled up with blue sealing wax. These long pear-shaped pearl earrings are worn as _Charles I._, such as all gay cavaliers were wont to wear. You can handle the quaint old bull's-eye lantern which tradition says Eugene Aram carried on the night of the murder--for it is on the table. A piece of wick still remains and grease is visible--not as the morbid Aram left it, but as last used. The lantern itself is of stamped metal. The glass on either side is there, though that through which the light was seen in the centre has long since left. It is a highly interesting relic. [Illustration: EUGENE ARAM'S LANTERN.] Be careful not to step into a big flower-pot saucer just close by, where "Fussie" drinks; mind not to overturn what looks like a magnified pepper-box near the fireplace, but which, after all, only contains the dust which is "peppered" on to the actor's long boots, to make them look travel-stained and worn. Then walk round the room and admire the treasures. There is a little gift sent from Denmark. In a neat oak frame is a picture of Elsinore, sprays of leaves from "Ophelia's brook," and a number of tiny stones and pebbles from "Hamlet's Grave." Here again is Kean, by Sir Thomas Lawrence, a small "Maclise," a sketch by Charles Matthews, Fechter--who used to dress in this very room himself--as _The Master of Ravenswood_, Ellen Terry as _Ophelia_, Sara Bernhardt, and John L. Toole. Variety is found in a pair of horseshoes, one of which Mr. Irving carried with him to America.