"The present one in 'A Pair of Spectacles,'" is the reply. "I take about a month to study up a character. I always wear the clothes I am going to play in for some time previously, so as to get them to my figure. The longest time I ever bestowed on a make-up was in 'The Profligate.' I took half an hour over it." Mr. Hare has really two rooms. The big one is used for an office as much as possible, where the actor does all his correspondence. Note the old-fashioned high wire fender, the heavy plush curtains, and elaborate rosewood furniture. It is a most artistic apartment. Those speaking-tubes communicate with the stage door, prompter, box office, and acting manager. The pictures which adorn the walls are as varied as they are valuable. Here may be found Leslie Ward's caricature of Corney Grain and of George Grossmith, together with an old engraving of Garrick, after R. E. Pine, published in 1818. Just by the glass is one of the few photos of Compton, in frock coat and plaid tie. Many a reminiscence of the Hare and Kendal management is about, and on the mantel-board of ebony and gold--over which rests the customary horse-shoe with the initials J. H. in the centre--portraits in silver frames of members of Mr. Hare's family are to be seen. [Illustration: MR. HARE'S INNER ROOM.] But by far the most attractive corner is a little room, scarcely large enough for two people to stand in, which branches off from the more spacious apartment. There, hanging up, is the light suit worn as _Benjamin Goldfinch_, with the long black coat which flaps about so marvellously--the actor finds plenty of "character" even in a coat--and the shepherd's-plaid trousers. The looking-glass is of walnut, with electric lights on either side shaded with metal leaves. In front of this he sits, amidst a hundred little oddments. Here are tiny bottles of medicine and quinine--for the actor being is a firm believer in the properties of this traditional strength-reviver. The little room is as comfortable as it well can be, and has a thoroughly domesticated air about it. * * * * * There are many things to notice as we pass through the passages on our way toward Mr. Charles Wyndham's room at the Criterion; programmes and play-bills in German and Russian of "David Garrick"--in fact the passages are literally decorated with mementoes of the clever comedian's admirable impersonation of this character. A bronze of the actor as _Davy_ raising the glass on high, and a massive silver loving cup, engraved "Garrick," is mounted on a pedestal bearing the inscription "Charles Wyndham, Von Direktor Lautenberg, Residenz Theatre, Berlin, December, 1887." Prints and pictures typical of Russian life are freely displayed. And here is an exceptional curiosity, and one which is doubtless highly treasured. In a modest oak frame is a piece of paper which once served to settle a little dispute, which is historical among things theatrical:--