- flrcDitecrs ♦ Experiences: 
 
 Professional, 
 
 g<'U .^% ^f'i. 
 ^ti? '«!? ^t'? 
 
 Urtistic, ana 
 
 .«i*i>>. .<$•>>. .>$% 
 
 S*9 S*S «*£ 
 <«!>> 7t>> ^iilSf 
 
 Cbcatrjcal ♦ ♦ 
 
 C^L?«J^ 
 
 . * . Bp * « * 
 
 flirrca Darbpsbirc, F.S.fl., F.l.B.fl., 
 
 jRutl)or of "Cbe Booke of Olde n?ancl)estcr and Salford," 
 " n Ci>rotiiclc of the Brascnose Club," ^c. 
 
 
 mancbest^r : 
 
 =A^ J. E. CORNISH riwj 
 
 1897 
 
CORNELL UNIVERSITY LIBRARY 
 
 Gift of 
 Samuel B. Bird '21 
 
Cornell University Library 
 NA 997.D21A3 
 
 An architect's experiencesiprofessional, 
 
 3 1924 008 718 177 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924008718177 
 
Ali-ki;ii Hakuvmiiui,. 
 
 Fnm u pholv^uil-h by Julli: lii^hain, Suit, Clwihuc. 
 

 llrcbitecfs* experiences: 
 
 ^A-)n^ 
 
 Professional, 
 
 mi. njfi. .^*ifc. 
 ■ojp- •<«? w 
 
 jlrtistic, ana 
 
 .iiiliii. .iS*iSi .(Sf'i 
 
 W W ^*!? 
 
 CDeatrical ♦ . 
 
 i^L}U(^ 
 
 * * * Bp ... 
 
 mtna Darbpsbire, F.$.il., F.I.B.II 
 
 JIutbor of "C1)C Booke of Olde mancbester and Salford," 
 "fl Cbronicle of the Brasenose Club," «5c. 
 
 ♦t 
 
 ^♦!P 
 
 n^ancbester : 
 
 cA^ J. E. CORNISH fA? 
 1897. 
 
 fc<t. 
 
 UHiV 
 

 to mp Oia ?riena 
 
 Sir Renrp Iroina, !)♦£»♦ 
 
 I Deatcate 
 CDls Book of experiences 
 
 " Witl) £oce and erectins." 
 
 Jlirrea Dartpsftire. 
 
 Ma 
 
PREFACE. 
 
 In a biographical notice in Manchester Faces and Places the 
 writer expressed a hope that I would give an account of my 
 varied experiences of men and manners. This suggestion 
 has been supplemented by " troops of friends," whose 
 partiality has led them to believe that a record of some 
 incidents and episodes in my lifetime might interest a wide 
 circle of readers out of the " beaten way of friendship." I 
 have written this book for my friends : if it should please 
 them, and interest a wider circle, I shall be well satisfied, 
 and — "he is well paid that is well satisfied." Some 
 portions of this book have appeared in journalistic form 
 in the columns of the Manchester City News. These I have 
 interwoven, with such additions and emendations as seemed 
 to me desirable for book form. 
 
 I send forth my book, commending it to the kind con- 
 sideration of my friends, and to the mercy of my critics. 
 
 A. D. 
 
 Manor Park, Knutsford, 
 Cheshire, 
 
 December, 1897. 
 
ERRATA. 
 
 On page 130 for "Frametta'' read "Fiametta." 
 
 144 W. G. Baxter is erroneously stated to be the 
 creator of " Ally Sloper." 
 
 323 read "an" for "and" before the word interviewer. 
 
 CONTENTS. 
 
 CHAPTER I. 
 
 Birth and Parentage — "Society of Friends" — Connection with 
 the early Settlements in America — Homes in Salford — Mechanics' 
 Institutes— Opening of Victoria Bridge — A Soldier's Funeral 
 
 CHAPTER II. 
 
 Life at Egerton, near Bolton — The Ashworths of Egerton 
 Hall — The Anti-Corn Law League Agitation — A General Elec- 
 tion in 1847 — Removal to Manchester — Charles Cumber — School 
 Punishment — Great Exhibition of 1851 — "Bradshaw" — Origin of 
 the Railway Guides and Time Tables — Elihu Burritt's Opinion of 
 George Bradshaw. 
 
 CHAPTER III. 
 
 Ackworth School — The Foundling Hospital in London — The 
 Buildings — Ackworth Estate bought by the "Society of Friends" — 
 School Opened in 1779 — Dr. Fothergill — Henry Sparkes — Early 
 Love of Art — First Effort at Plan Making — Lindow Grove 
 Academy, Cheshire. 
 
 CHAPTER IV. 
 
 Professional Life — Articled to an Architect in Manchester — 
 Lane & Alley — Mr. Waterhouse, R.A. — Mr. Edward Walters — 
 His Influence on the Street Architecture of Manchester — Cotton 
 Mills — Art Treasures Exhibition of 1857— Its Influences— The Pre- 
 Raphaelite Brotherhood— Sir Frederick Leighton. 
 
CONTENTS. 
 
 CHAPTER I. 
 
 Birth and Parentage — "Society of Friends" — Connection with 
 the early Settlements in America — -Homes in Salford — Mechanics' 
 Institutes— Opening of Victoria Bridge — A Soldier's Funeral 
 
 CHAPTER II. 
 
 Life at Egerton, near Bolton — The Ashworths of Egerton 
 Hall — The Anti-Corn Law League Agitation — A General Elec- 
 tion in 1847 — Removal to Manchester — Charles Cumber — School 
 Punishment — Great Exhibition of 1851 — " Bradshaw '' — Origin of 
 the Railway Guides and Time Tables — Elihu Burritt's Opinion of 
 George Bradshaw. 
 
 CHAPTER III. 
 
 Ackworth School — The Foundling Hospital in London — The 
 Buildings — Ackworth Estate bought by the "Society of Friends" — 
 School Opened in 1779 — Dr. Fothergill — Henry Sparkes — Early 
 Love of Art — First Effort at Plan Making — Lindow Grove 
 Academy, Cheshire. 
 
 CHAPTER IV. 
 
 Professional Life — Articled to an Architect in Manchester — 
 Lane & Alley — Mr. Waterhouse, R.A. — Mr. Edward Walters— 
 His Influence on the Street Architecture of Manchester — Cotton 
 Mills— Art Treasures Exhibition of 1857— Its Influences— The Pre- 
 Raphaelite Brotherhood— Sir Frederick Leighton. 
 
X. Contents. 
 
 CHAPTER V. 
 
 Pupilage — Humours of the Office — "Tom Pinch" — Arthur 
 H. Marsh — Water-colour Studies — Luke Fildes, R.A. — Private 
 Life Class for "the altogether' — Sketching Expeditions — ^Joseph 
 Knight, R.I. — Manchester School of Art Forty Years Ago — J. A. 
 Hammersley, Master — Fellow Students — Frederick Shields. 
 
 CHAPTER VI. 
 
 Sketching Expeditions — Haddon Hall — " Capture of a Royalist" 
 
 — "Lizzie" — Nathaniel Hawthorne — The Old Chapel — Marc 
 Antony's Oration — Manchester Academy of Fine Arts — "The 
 Manchester School " of Painters — Etching Club— My First Engage- 
 ment as an Architect's Assistant — Tour in Yorkshire — The late 
 Sir Gilbert Scott — I Commence Practice in 1862 — Lyme Hall, 
 
 ^Cheshire — My First Commission — Gatley, the Sculptor — First 
 Visit to the Continent — First Architectural Competition — Success. 
 
 CHAPTER VII. 
 
 The Volunteer Movement — The Architects' Corps — Charles 
 Alexander Calvert — First Professional Work at the Prince's 
 Theatre, Manchester — H. Stacy Marks, R.A.— Artistic Life in 
 London — Langham Sketching Club — Visit to Surrey — "The* 
 Hill" — Birket Foster — The late Charles Keene, of "Punch" — 
 Sir E. Burne-Jones, Bart. — His Early Work. 
 
 CHAPTER VIII. 
 
 Competition Plans for the Manchester Abattoir — Success — , 
 "The Laurels" — Origin of Friendships — Heraldry — W. A. Turner 
 
 — Hatchments of the late Prince Consort — Visit to Paris in 
 1867 — Tour through Normandy and Brittany in 1868 — Visit of the 
 Emperor and Empress to Rouen — First Exhibit at the Royal 
 Academy — "Varnishing Day" and Conversazione — "Avon Lodge, 
 Manchester — Professional Work at the Prince's Theatre. 
 
 CHAPTER IX. 
 
 I Build my own House — Sir Joseph Heron — Manchester 
 Society a Quarter of a Century Ago — The Tongs at Higher 
 
Contents. xi. 
 
 Broughton— The " Whitehall Review "—Sugar Refinery, Dublin — 
 Sir William Fairbairn — New Departure in Constructive Ironwork. 
 
 CHAPTER X. 
 
 Architectural Practice— Utilitarian and Artistic Clients- 
 Frederick Walker— " Summer Hill"— Sir William Agnew— Mum- 
 ming Performance— Decoration of Billiard Room — Leslie, Marks, 
 Hodgson, and Walker collaborate — Walker's Work — "The 
 Harbour of Refuge" given by Sir William Agnew to the National 
 Gallery. 
 
 CHAPTER XI. 
 
 The Brasenose Club, Manchester — Verses on "Bohemia" — 
 Some ' Members of the Club — Randolph Caldecott — Artists' Ball 
 at the Royal Institute, Piccadilly — Entertainments of the Club — 
 Sir Juhus Benedict — Dr. Villiers Stanford — Sir Charles Halle^ 
 Edwin Waugh, the Lancashire Poet — The Coming of Age Dinner 
 in 1890. 
 
 CHAPTER XII. 
 
 Conservative Club, Manchester — Tour in Italy in 187S — 
 Rome — John Warrington Wood, the Sculptor — Villa Campana. 
 
 CHAPTER XIII. 
 
 Sir Henry Irving — My Work at the Lyceum — Walter Lacj- — 
 Bartolozzi — The Baroness Burdett-Coutts — Holly Lodge, Highgate 
 — Stratton Street, Piccadilly — People I have met there — Visit to 
 the Royal Academy of 1879 — The Baroness and the Lyceum 
 Venture — Dante Gabriel Rossetti — Visit to Cheyne Walk, Chelsea 
 — Hamlet and Ophelia — " Dante's Dream " — Barlow Fold, 
 Cheshire — Its Contents and Social Gatherings — The Bancroft 
 Collection of Pictures in America. 
 
 CHAPTER XIV. 
 
 Variety of Professional Work— Banquet at the Manchester 
 Town Hall — Lincoln Cathedral — Death and Funeral of Tom 
 Taylor — William Logsdail — William Michael Rossetti ^ — Parish 
 Church, Chapel-en-le-Frith — Architects' Troubles and Disappoint- 
 ments — An "Eden'" Scheme — Chatterton, Manager at Covent 
 
xii. Contents. 
 
 Garden Theatre — Architectural Competition — Pupils — J. Moyr 
 Smith, " Punch " Artist— W. G. Baxter, " Ally Sloper " Artist— 
 " Momus" Newspaper. 
 
 CHAPTER XV. 
 
 Work in Ireland — Mr. Andrew Jameson at Fitzwilliam Square 
 and Merrion Street, Dublin — Howth — Miss Margaret Stokes- 
 James Sligo Jameson — Punchestown — Prince and Princess of 
 Wales in Ireland — Citizens' Ball, Dubhn— Irish Hospitality — 
 County Sligo — Megalithic Remains — The Viking's Country — Mr. 
 Abel Buckley — Mitchelstown — Work at Galtee Castle — Irish Work- 
 men — Sutton House, Howth — Professor Dowden — Work at Rutland 
 Square. 
 
 CHAPTER XVI. 
 
 I become an Architectural " Showman " — Artistic Bazaars — 
 The " Great German Town " — Costume Troubles — St. Alban's 
 Bazaar, Birmingham — " The Scotch City " — Military Bazaar — The 
 '■Fortified Town" — The Chelsea Hospital for Women — J. S. 
 Wood — The " Shakespeare Show " at the Albert Hall, London — 
 Royal Jubilee Exhibition, Manchester, in 1887 — Old Manchester 
 and Salford — Meeting with the late Lord Leighton — Herbert 
 Railton and John Jellicoe collaborate at a Picture — James Reilly 
 — Exhibitions at the St. James' Hall, Manchester — Art and 
 Industrial Exhibition — Address by the late William Morris. 
 
 CHAPTER XVII. 
 
 The Theatre — Early Associations therewith — Herman Meri- 
 vale's Opinion — Sir Henry Irving first plays "Hamlet" — Helen 
 Faucit's last appearance as "Rosalind" — My Fellow Pupil gives a 
 Performance — " Cox's " Hotel — Manchester Volunteer Engineers — 
 Performance at the Theatre Royal in i86i — Shakespeare Ter- 
 centenary, 1864 — Miss Ada Dyas — "Othello" at Hereford. 
 
 CHAPTER XVIII. 
 
 Charles Alexander Calvert — The Prince's Theatre, Manchester 
 — Mr. Acton's Opening Address — Calvert's Work for the Theatre — 
 His Method of Producing the Shakespearian Drama — "The 
 Tempest" his first "Revival," October 15th, 1864 — List of the 
 "Revivals" — Criticism on Calvert's Work — His Acting and Success 
 
Contents. xiii. 
 
 — Enlargement of the Theatre — My first Professional Work in 
 connection with Theatre Architecture — Decoration — H. Stacy 
 Marks, R.A. — Theatre Reopened, August 6th, i86g, with " Much 
 Ado about Nothing" — Production of " Henry V." and my asso- 
 ciation therewith — J. D. Watson — Immense Success of the Pro- 
 duction in America and Australia — Calvert's Address on the last 
 "light of Performance. 
 
 CHAPTER XIX. 
 
 The Prince's Theatre, Manchester, becomes a private under- 
 taking with Calvert Manager — " The Manchester Triumvirate " — 
 Scene Painting and Topical Song Writing — Richard Flanagan — 
 G H. Browne becomes sole Proprietor of the Theatre — Improve- 
 ments in the House — Promenade Concerts — Lord Byron's Plays — 
 " Sardanapalus " — Alfred Cellier — His first Opera — Sir Arthur 
 Sullivan's Opinion — Supper at the Brasenose Club — Cellier's 
 Death — Franco-German War — War Victims' Fund — Tableaux 
 Performance at the Prince's Theatre — I am " Disowned " by the 
 " Society of Friends ' — Reasons — Engagement of Phelps — Calvert's 
 Last Revival — " Henry VIII." — Ill-health — Breakdown at Birming- 
 ham — Second Seizure — Death at Fulham — Funeral — Oration by 
 the Rev. Paxton Hood — Epitaph. 
 
 CHAPTER XX. 
 
 The Calvert Memorial Performances — The late Mr. Tom 
 Taylor — Distinguished Amateurs — The Memorial Committee — 
 Experiences in getting up the Performances — Lady Martin — 
 " Punch " Staff — First Public Announcement of the Cast of " As 
 You Like It" — The Address — Changes in the Cast — Rehearsals — 
 Helen Faucit's Method — The "Supers" — Final Cast of Characters 
 — Two Rosalinds in the Field — Scene with Helen Faucit — Her 
 Reception — Edwin Waugh as First Forester — Herman Merivale's 
 Criticism — Costumes — Financial Result of the Performances — 
 Effect of Calvert's Work — The late Bishop Eraser's Opinion — 
 Decay of the Manchester Stage — Louis Calvert — His Production 
 of " Henry IV." 
 
 CHAPTER XXI. 
 
 Sir Henry Irving — His First Appearance and Farewell Per- 
 formances in Lancashire — Benefit Performances — Free Trade Hall, 
 
xiv. Contents. 
 
 Manchester — Programme — Exposure of the Davenport Frauds — 
 Bury Performances — Programme — "Hamlet" — Incidents of the 
 Performances — Barry SulUvan — Dinner at the Queen's Hotel, 
 Manchester. 
 
 CHAPTER XXII. 
 
 Theatre Architecture — My Professional Connection with the 
 Prince's Theatre, Manchester, ceases — Safe Theatres — The London 
 Lyceum — Manchester Comedy Theatre — The Exeter Disaster — 
 Sir Henry Irving's "Safety" Scheme — Rebuilding of the Exeter 
 Theatre — Lecture on " Secular Architecture " for the Corporation 
 of Manchester — The Palace of Varieties. 
 
 CHAPTER XXIII. 
 
 The Art of the Stage— Old Style of Acting— Modern School 
 of Acting — ^Jefferson in "Rip Van Winkle" — Stage Productions 
 or " Revivals " — The Green-baize Theory of Stage Setting — The 
 Manchester Independent Theatre Society — Its Productions of the 
 Shakespearian Drama without Scenery — Sir Henry Irving at the 
 West Point Military Academy in America — Realism — Ristori in 
 " Marie Antoinette." 
 
 CHAPTER XXIV. 
 
 Realism Continued — "Ravenswood" at the Lyceum — 
 "Claudian" — " Cymbeline " — "The Cup" — Alma Tadema's 
 Opinion — I Try Theatrical Management and Fail — F. R. Benson — 
 My First Meeting with H. Beerbohm Tree — Geflowski's Party — The 
 Whirligig of Time — Miss Genevieve Ward — The Hon. Lewis 
 Wingfield — " Despite the World " — Miss Ward's Dog named after 
 the Heroine — " Forget-Me-Not." 
 
 CHAPTER XXV. 
 
 Oxford — St. Giles' Fair — Charles Dickens' Opinion of Irving's 
 Acting — Irving becomes sole Lessee of the Lyceum in 1878 — The 
 Opening Night — "Hamlet" — Great Success— The Receipts— Green 
 Room Club — The late Sir F. R. Burton — The Comedie Franfaise — 
 Visit to Dorking — Dinner at the Garrick Club. 
 
Contents. xv. 
 
 CHAPTER XXVI. 
 
 Second Meeting with the Comedie Frangaise Company — M. 
 Sarcey — Commemoration of the One Hundredth Performance of 
 " The Merchant of Venice " — Record of the Morning Post — 
 " Coriolanus " — Visit to Alma Tadema — The Lyceum Productions 
 — Sir Henry Irving's Work at the Lyceum — Its Effect — Stage 
 Production since the time of Macready. 
 
 CHAPTER XXVII. 
 
 Opinions of some Critics on the Financial Success of Shake- 
 spearian Revivals — Yearly Profit at the Manchester Prince's 
 Theatre — Charles Kean's Last Words at the Princess's, London 
 — Phelps at Sadler's Wells — Sir Henry Irving and the Daily 
 Chronicle Interviewer — Financial Policy of the Lyceum Manage- 
 ment — The Critic of The Times on " Hamlet" — Advertising 
 Extraordinary — Conclusion. 
 
CHAPTER I. 
 
 T X /"HEN a man writes the story of his Ufa it is 
 considered desirable that he should give 
 some account of his birth and parentage ; in nine 
 cases out of ten it is probable that it is a matter 
 of no consequence to his readers where and when 
 he was born, or who were his parents. If he 
 has deserved well of his country, and become a 
 figure in history, then his birth and parentage are 
 interesting facts ; and the place of his nativity 
 may claim an honourable mention. 
 
 In my own case, although my origin is of little 
 or no consequence to the majority of those who 
 may read this story of my life, I suppose I must, 
 as Charles Matthews the elder said (in writing his 
 memoirs), "begin at the beginning," which it is 
 unnecessary to say was — my Birthday. 
 
 An old friend of mine, H. Stacy Marks, R.A., 
 has said in his memoirs, published under the title 
 of "Pen and Pencil Sketches," "I have heard on 
 the best possible authority that I was born, &c." 
 Now, in my own case, I have not only heard, but 
 I possess a written document signed by one John 
 Hill, Registrar, setting forth the fact that I was 
 
 B 
 
2 An Architect's Experiences: 
 
 born at No. 8, Peru Street, Salford, on the 20th 
 of June, 1839. This house still exists as part of 
 a row called Melbourne Terrace, after Queen 
 Victoria's first Prime Minister. The date of my 
 birth is remarkable as the day on which Victoria 
 Bridge was opened, amidst great festivities and 
 grand processions. This bridge formed the con- 
 necting link of architectural beauty and engineering 
 skill between the Borough of Salford, in which I 
 was born, and the City of Manchester, in which 
 I have spent most of my life.* 
 
 My parents were members of the Society of 
 Friends, commonly called Quakers ; my ancestors 
 may be traced to the time of William Penn, and 
 their descendants of the maternal side of our 
 house have been associated with America ever 
 since the great Quaker founded the colony, which 
 still keeps his memory green in the State of Penn* 
 sylvania. 
 
 The only thing I can remember in connection 
 with my childhood was an Exhibition held in 
 the Old Cloth Hall, Greengate. I mention this 
 because it was associated with a movement for 
 the social and intellectual advancement of the 
 lower classes of that time. The establishment of 
 Mechanics' Institutions was a move in the direc- 
 tion of educational advancement and intellectual 
 and rational amusement. In those days there 
 
 *It is interesting to note that Queen Victoria is Lady of the 
 Manor of Salford, and Duke of Lancaster. 
 
Professional, Artistic, and Theatrical. 3 
 
 were no Free Libraries, and few, if any, social 
 clubs for the middle and lower classes; the work- 
 ing man found his principal relaxation in the 
 ale-house. The Mechanics' Institution provided 
 him with a comfortable reading-room, a library of 
 useful and entertaining books, and with Lectures 
 on Science, Art, and Political Economy. The 
 Salford Mechanics' Institute was one of the first 
 established in the country, and the Exhibition I 
 have alluded to was organised for the purpose 
 of improving its financial position. My father, 
 William Darbyshire, was one of the first directors, 
 and, I believe, the Chairman of the Exhibition 
 Committee. This effort of the directors was a 
 great success. The machinery in motion caused 
 quite a sensation ; and I have been told on good 
 authority that it was as much as my nurse could 
 do to prevent my being mixed up with it and 
 whirled into eternity, amidst its straps and won- 
 derful fly-wheels. 
 
 What a wonderful change has come over the 
 social life of the working classes since the early 
 "forties" of this century! Mechanics' Institutes 
 have disappeared ; they are almost forgotten amidst 
 the wealth of Free Libraries, Board and Technical 
 Schools, Athenaeums, and Art Galleries. Ignorance 
 has vanished from the land, and verily the Victorian 
 Era has taught us that " Knowledge is Power." 
 
 Another item of interest connected with my 
 childhood, and which I clearly remember, was an 
 
4 An Architect's Experiences: 
 
 accident which was nearly fatal. The family 
 removed from the Terrace in which I was born 
 into Peel Street, adjacent to that sombre and 
 severely classic edifice, St. Philip's Church. Here, 
 whilst amusing my infantine self in a sort of tread- 
 mill fashion on the front-door steps, I fell on the 
 nosing of the topmost one, and just escaped a 
 fractured skull. The brand of this mishap still 
 remains. I do not remerhber whether I was 
 considered a child of beauty or not ; but if 
 I was, this catastrophe effectually obliterated all 
 claims to good looks, and left me a plain-looking 
 youngster. 
 
 I have recently visited these homes of my earliest 
 years, and from their appearance I conclude they 
 remain in much the same state as when the family 
 occupied them. The brickwork is brown with age, 
 the doorways are circular-headed, the windows* 
 have stone heads ; the little gardens remain pro- 
 tected by quaint iron railings ; there are a few 
 shrubs in these gardens, and some ivy still clings 
 to the walls. A brass knocker (the only one left) 
 still temains on the door of No. 8 in Melbourne 
 Terrace. These respectable, well-built houses are 
 now smothered with rows of speculative and jerry- 
 built cottages, and blackened with the smoke of 
 mills and manufactories. The open fields in which 
 they once stood are now covered with the brick- 
 and-mortar evidence of increased population, con- 
 sequent on the growth of commercial enterprise. 
 
Professional, Artistic, and Theatrical. 5 
 
 Whilst in the Peel Street residence a military 
 funeral took place (I think that of General Arbuth- 
 not). The event made such an impression on my 
 young mind that it remains with me in every detail 
 to this day. A soldier's funeral is always an im- 
 pressive sight, but to the young mind it is especially 
 so. The charger without its rider, the gun-carriage 
 with its cofihn covered with England's flag, the 
 plumed hat, the boots reversed, and the sword, 
 insignia of the rank of their departed owner, form 
 pictorial and solemn evidences of the transient 
 nature of "things terrestrial." The volley of mus- 
 ketry over the grave I shall never forget. With 
 the memory of it still fresh and vivid, I close this 
 initial chapter, and bid adieu to infantine days. 
 
An Architect's Experiences: 
 
 CHAPTER II. 
 
 ]V /TY father being connected with the business 
 ^^■^ of dyeing, he, early in the "forties," under- 
 took the management of the dyeworks belonging 
 to Edmund Ashworth & Sons, at Egerton, near 
 Bolton. This event resulted in the removal of the 
 family to that locality. I have pleasant memories 
 of the life at Egerton, but chiefly of my intercourse 
 with the family at Egerton Hall. The Ashworth 
 family were then members of the Society of 
 Friends. We journeyed every Sunday to the 
 Meeting House at Bolton, and the aristocratic 
 figure of Edmund Ashworth sitting at the head 
 of that silent and solemn assembly of "Friends" 
 is still clearly before me. Although the boys of 
 the Egerton family were my seniors, out of school 
 hours we were constantly together, and I was a 
 frequent visitor at the Hall. Those were the 
 days of the Anti-Corn Law agitation, and every- 
 body of any consequence amongst the Quakers 
 was a member of the famous League established 
 in Manchester in 1838 for the Repeal of the 
 Corn Laws. The Ashworths were active mem- 
 bers of the League ; Mr. Henry Ashworth 
 
Professional, Artistic, and Theatrical. 7 
 
 took a prominent part in the advocacy of the 
 principles of Free Trade and the abohtion of 
 Protection. I have dim recollections of meetings 
 of the great agitators at Egerton Hall ; and the 
 names of John Bright, Richard Cobden, Milner 
 Gibson, George Wilson, and Villiers (now the 
 Father of the House of Commons) became 
 " familiar in my mouth as household words." 
 With the exception of the venerable C. P. 
 Villiers, all have left this life. Their earnest 
 advocacy, their magnificent oratory, and their 
 great triumph in 1846 are now matters of 
 history. Although in after years I frequently 
 met these great men, I feel some satisfaction 
 in the knowledge that I was alive in the years 
 of their warfare, and that I can remember the 
 news of their victory being brought to our 
 home the morning after Sir Robert Peel carried 
 his memorable measure through the House of 
 Commons. 
 
 This political warfare reminds me of the 
 General Election of 1847. I recollect being on 
 a visit to some relations who resided in the 
 town of Bolton, in Lancashire, and the stirring 
 events of that election I clearly remember. 
 General Elections nowadays are quiet and un- 
 eventful, compared to what they were in the 
 times of which I am writing. Those were the 
 days of "Whig" and "Tory" party strife, and 
 great was the excitement at public meetings. 
 
8 An Architect's Experiences: 
 
 on the " hustings," and in the streets on the 
 polhng-day. I recollect being on a balcony 
 which commanded a view of the junction of 
 four streets. At the corner of Bradshawgate 
 a candidate was addressing a dense crowd of 
 excited electors. Beneath me was a compact 
 mass of humanity, yelling and shouting. Having 
 been reared in a Radical school of politics, my 
 boyish sympathies went, as a matter of course, 
 with the candidate who was upholding "Whig" 
 principles. I therefore shouted, as loudly as my 
 young lungs would allow, "Bowling for ever!" 
 Then (as Sir Walter Besant would say) " a 
 strange thing happened." There was a sudden 
 commotion below me; a "Tory" faction charged 
 the " Whig " crowd, and a free fight ensued. 
 Things began to fly in the air, the windows 
 about me were smashed, and then — well, all I 
 remember is being restored to sense and reason 
 by an affectionate aunt, who had dragged me 
 into the room, and probably saved my precious 
 life to tell this story. This was my first and 
 last entry into the political arena ; and ever 
 since I had a vote I have contented myself 
 with simply recording it, under the shelter and 
 protection of the Ballot Act. 
 
 Whilst living at Egerton great events happened 
 in European history. I distinctly remember my 
 father returning home from Manchester with the 
 news of the abdication of Louis Philippe in 1848. 
 
Professional, Artistic, and Theatrical. g 
 
 I was too young to understand the importance 
 of this crisis in French history, but I remember 
 my mother's alarm at the prospect or probability 
 of another Buonaparte arising. Her youthful 
 days were passed in the stirring times, when 
 the popular mind was filled with the scare, that 
 "Boney" would land in this country, and sweep 
 it with his conquering armies from Land's End 
 to John o' Groat's. 
 
 In 1849 our family removed to Manchester and 
 took a residence in a village near Pendleton, called 
 Irlams-o'th'-Height. After passing a short time 
 at a Dame's School in Pendleton, I was sent to 
 the famous school conducted by the Quaker 
 master, Charles Cumber. Many men of note 
 in the modern history of Manchester have been 
 educated by this remarkable schoolmaster. He 
 was a short man, habited in a plain black 
 Quaker suit ; but he always wore a black satin 
 waistcoat, considerably open,, and displaying a 
 spotless white shirt front and necktie. He was a 
 strict disciplinarian, and used the cane. Looking 
 back upon these school days, the use of the cane 
 by way of punishment seems a strange thing. I 
 remember seeing it used only once, and then it 
 seemed to me a dreadful thing. One of the big 
 boys would not reveal the name of another boy, 
 who had said or done something wrong ; he was 
 therefore placed upon a platform in front of the 
 assembled scholars, and the whole morning was 
 
10 An Architect's Experiences: 
 
 spent in periodical applications of the cane on the 
 palm of the hand, with the object of extracting a 
 confession from the victim. That confession was 
 never made, but the heroic boy was under the 
 doctor's care for some time afterwards. He still 
 lives to tell the tale of the inhuman method of 
 school punishment in vogue not half-a-century ago. 
 Cumber's School occupied the site at the corner 
 of Mount Street and Peter Street, Manchester, 
 on which now stands the Friends' Institute. 
 Next door stands the modern Comedy Theatre, 
 curiously enough erected from my designs, and 
 under my supervision. Many years after the 
 school was discontinued the lower portion of 
 the building was occupied by the celebrated 
 , architect, Alfred Waterhouse, R.A. 
 
 The year 1851 was a memorable one for me. 
 In this year the first great Exhibition was opened 
 in Hyde Park. I think my visit to Sir Joseph 
 Paxton's great Crystal Palace, under the care 
 and guidance of my uncle, George Bradshaw, 
 must have developed a latent love for art, and 
 for things of beauty. That great show of art 
 and national products, combined with the sights 
 and life in " London Town," was a revelation 
 to me, which struck a serious and thoughtful 
 chord in my boyish mind. I have ever cherished 
 the memory of the good man to whom I was 
 indebted for such a result. 
 
 The name of George Bradshaw, or, rather, 
 
Professional, Artistic, and Theatrical. ii 
 
 of " Bradshaw," is world renowned. As the 
 designer and prpjector of the Raihvay Guide, 
 George Bradshaw will be held in esteem as long 
 as men journey to and fro upon the earth. Few 
 persons outside his own circle of relatives and 
 friends knew what manner of man he was. Mr. 
 Bradshaw early in life joined the Society of 
 Friends, and entered enthusiastically into the 
 philanthropic schemes initiated or favoured by 
 the Quakers. He was a staunch advocate for 
 "Ocean Penny Postage," and his whole soul was 
 imbued with "Peace Principles." A great Peace 
 Conference was held during my visit to London in 
 1 85 1. I was taken to one of the Conversaziones 
 by my uncle, and was presented to Elihu Burritt, 
 the peace orator of the evening. At this distance 
 of time I can recall the handsome figure and some- 
 what sharp-cut features of the speaker; the whole 
 scene was to me bewildering and impressive, and I 
 have ever respected and admired the men who have 
 upheld the idea of International Arbitration instead 
 of War, and whose watchword has ever been 
 "Peace on earth and goodwill towards men." 
 
 Ineffectual attempts have been made to rob 
 Mr. Bradshaw of his claim to the origination of 
 the "Time Tables" and "Railway Companion." 
 I shall only here record what knowledge I possess 
 of their origin. From my father, who, besides 
 the relationship, was on terms of intimate friend- 
 ship with his brother-in-law, I learned that on 
 
12 An Architect's Experiences: 
 
 a "first day" (Sunday) morning, whilst walking 
 together from "meeting" (the religious gathering 
 of the Friends), Mr. Bradshaw remarked that he 
 thought it would be a good thing to publish a 
 table of times at which trains would run between 
 Liverpool, Manchester, Bolton, and one or two 
 other places connected by railways. The idea 
 was voted a good one, and the first number of 
 " Bradshaw's Railway Time Tables " was given 
 to the world during the year in which the con- 
 versation I have mentioned took place, namely, in 
 1839. In this little book, not much thicker than 
 a crown piece, we see the origin of the bulky 
 and indispensable yellow-backed "Bradshaw" of 
 the present day. 
 
 Mr. Bradshaw died at Christiania, in Norway, 
 of cholera, in 1853. He was the .head of the 
 firm ,of printers and publishers, Bradshaw and 
 Blacklock, of Manchester. At his death Elihu 
 Burritt, "the learned blacksmith," said of him: 
 " How few men in the town in which he livfed 
 will ever know the value of his busy life of quiet 
 benevolence. He did not even let his left hand 
 know what his right did. He^was ever planning 
 secretly enterprises of goodwill to them, which 
 should ameliorate their position and bring to ^ 
 them light and comfort. In his great field of 
 philanthropy, the peace movement, he never 
 wearied, but waxed warmer and brighter in faith 
 and activity to the last." 
 
-'■^'S 
 
 i'jEOKCE BkADSHAW. 
 /■'yoin a plate in the pus!>L-^siuii of Chrislop/wr Hi-iidshai..-, Esq. 
 
Professional, Artistic, and Theatrical. 13 
 
 CHAPTER III. 
 
 T CANNOT remember the exact date, but it 
 -*- was late in the year 1851 that I was sent 
 to the great Quaker School at Ackworth, near 
 Pontefract, in Yorkshire. Little is krjown of this 
 establishment outside the circle of the "Society 
 of Friends," but it has a history, and has turned 
 out men of note in the social, political, and 
 literary life of the country. Mr. John H. Nodal, 
 in his excellent work entitled "The Bibliography 
 of Ackworth School," says (after allusion to those 
 scholars who are known in literature), "Other old 
 scholars have attained to eminence as artists, 
 doctors, engineers, inventors, and teachers." I 
 am not ashamed to admit — in fact, it is a 
 source of pride to me to acknowledge — that I 
 have received mainly my education in a school 
 whose roll of scholars contains the names of 
 the Right Hon. John Bright, M.P., William 
 Howitt, Mrs. Ellis, the two Wiffens (Benjamin 
 and Jeremiah), James Wilson, M.P., a promi- 
 nent member of the Russell Administration, and 
 dear old Howe, the venerable and respected actor, 
 once a distinguished member of the famous old 
 
14 An Architect's Experiences: 
 
 Haymarket Company, and who played his last 
 parts under the regime of his old friend, Sir Henry 
 Irving. He now lies in American soil, sleeping 
 out his long rest, "after life's fitful fever." 
 
 The History of Ackworth School has been well 
 written by Mr. Henry Thompson, of whom I 
 have a pleasant memory. He was a genial, refined 
 gentleman, and a master universally- esteemed by 
 the Ackworth boys of my time. He occupied a 
 position of trust and responsibility ; he possessed 
 the rare quality of enforcing obedience and at the 
 same time winning the respect and affection of 
 those under his control. Mr. Thompson's History 
 was written as a part of the " Centenary Com- 
 memoration " in 1879, and is the work of a 
 scholarly and cultured mind. Although some of 
 my memories of Ackworth School are not alto- 
 gether pleasant, I have no desire to write in any ' 
 unkindly spirit of this great establishment for the 
 education of Quaker boys and girls. Forty years 
 ago the curriculum of the school was limited, and 
 its management, as far as regarded the comfort 
 of the scholars, was not altogether satisfactory. 
 What a wonderful change has come over the 
 place in less than half a century ! The children 
 are now dressed like the offspring of ordinary 
 mortals ; their comforts are well attended to ; the 
 range of study is wide and comprehensive, and, 
 according to a work recently published, we learn 
 that music is included in the liberal education 
 
Professional, Artistic, and Theatrical. 15 
 
 which a Quaker child can now obtain at Ackworth 
 School. When I think of the distaste with which 
 this sublime art was regarded by the " Society of 
 Friends" in my youthful days, I almost wish I 
 had been born half a century later, for my educa- 
 tion at Ackworth would have been of coUeeiate 
 importance. Although education in my time was 
 of a plain English character, principles were in- 
 culcated which should guide men and women 
 through life with rectitude and honour. 
 
 I have already said that Ackworth School has 
 a history, and as this history has been associated 
 with some great and good men for more than a 
 century, I feel justified in giving my readers a 
 brief account of its origin and objects. 
 
 The Governors of the London Foundling Hos- 
 pital, at the beginning of the last century, estab- 
 lished branch establishments in several provincial 
 towns. In the year 1757 they purchased what 
 is now known as the Ackworth School Estate. 
 In 1759 was commenced the present handsome 
 classical structure, designed by Watson, architect 
 to the Governors. As usual with such buildings 
 erected during the time "when George the Third 
 was King," it is symmetrical in plan, and consists 
 of a large central pile of buildings, connected 
 with projecting side wings by circular colonnades 
 of the Tuscan order of architecture. These 
 wings, running out at right angles to the central 
 block, enclose on three sides a rectangular space, 
 
i6 An Architect's Experiences: 
 
 one half of which forms the boys' playground, 
 and the other half is devoted to the use and 
 recreation of the girls. The third or open space 
 is occupied by the " Great Garden." The east 
 wing is devoted to the boys, and the west wing 
 to the girls. The centre portion contains the 
 dining-halls, committee-room, and administrative 
 offices. The whole thus constitutes a goodly pile 
 of architecture characteristic of the art as prac- 
 tised during the Georgian Era. 
 
 It would be foreign to the scheme of my life- 
 story to follow the history of the Foundling 
 Hospital, neither can I dwell on the good deeds 
 of the benevolent men who originated it, and 
 who upheld the Institution with energy and 
 devotion. Suffice it to say that in the year 1773, 
 from various causes, the committee found them- 
 selves unable to maintain and carry on their 
 Hospital, and the whole property was placed in 
 the open market for sale. 
 
 In the year 1777 it was decided by the 
 Quakers, "That there was not sufficient pro- 
 vision for the training of children of ' Friends ' 
 not in affluent circumstances." The passing of 
 this resolution resulted in the establishment of 
 a boarding school, calculated to meet the re- 
 quirements of the case. At this point the his- 
 tory of Quaker education becomes interesting by 
 being associated with that celebrated man. Dr. 
 Fothergill. He it was who conceived the idea of 
 
Professional, Artistic, aud Theatrical. 17 
 
 purchasing the estate at Ackworth. His efforts 
 resulted in the property becoming vested in the 
 Society of Friends, and the first pupils entered 
 Ackworth School on October i8th, 1779. The 
 life of Dr. Fothergill has been written by Mr. 
 James Hack Tuke ; and his features have been 
 transmitted to posterity on a beautiful cameo, 
 produced by his friend Wedgwood, the great 
 potter. My allusion to Ackworth School would 
 be incomplete without some notice of this cele- 
 brated Doctor of Physic. He was born in 1712, 
 and completed his education at the Grammar 
 School at Sedbergh, in Yorkshire. On leaving 
 school he was articled to an apothecary in 
 Bradford, and became a medical student at 
 Edinburgh in 1734, where he took his degree in 
 1736. On his removal to London he became 
 associated with St. Thomas's Hospital, and soon 
 commenced his celebrated practice, lasting over 
 a period of forty years, in White Hart Court, 
 Gracechurch Street. Dr. Fothergill died in 1780, 
 and his death was regarded as a national 
 calamity. His biographer says: "Thus died the 
 distinguished Yorkshireman, John Fothergill, who 
 in life had so thoroughly exemplified his own 
 saying, that the great business of man as a member 
 of society is to be as useful to it as possible, in what- 
 soever department he may be stationed.'' 
 
 It was whilst at Ackworth School that I was 
 enabled to give some practical though rude ex- 
 
i8 An Architect's Experiences: 
 
 pression to a youthful love of art. A Society 
 of Arts was established in the school, and my 
 master, Henry Sparkes, took a great interest in 
 developing the capacity of its members. He had 
 been educated for a land surveyor, and it is on 
 record that he was employed to make a survey 
 of the Ackworth Estate. ' 
 
 It is curious to note what small events and 
 unexpected incidents influence men's careers and 
 business in life. It was under the direction of 
 Mr. Sparkes that I made a plan of the Boys' 
 Wing, and laid it down to scale. This was an 
 achievement which so fascinated me that I took 
 to planning and drawing with enthusiasm. My 
 master became interested in me, showed me 
 his pictures in oil, and took me with him on 
 sketching expeditions into the country. I still 
 retain some of these early efforts, and until, 
 recently I possessed the drawing in crayon 
 entitled " The Death of the Stag," a copy 
 from a French lithograph, and for which I was 
 awarded the highest prize that the Society of 
 Arts had at its disposal. 
 
 Although my life at the great Quaker School 
 may have left some unpleasant memories, the 
 remembrance of the artistic portion of that 
 period is exceedingly pleasant. Ruskin has said, 
 "It is not necessary for an artist to be an 
 architect, but it is necessary for an architect to 
 be an artist." This is a true doctrine from the 
 
Professional, Artistic, and Theatrical. 19 
 
 pen of the great art teacher, and it was a 
 fortunate thing for me that my teacher at Ack- 
 worth School was not only an architect, but an 
 artist, and a painter of considerable ability. He 
 belonged to an artistic family, one of whom is 
 now the Master of the celebrated School of Art 
 at Lambeth. 
 
 I suppose the fascinating influence of art 
 caused a neglect of other studies ; at all events, 
 I was sent to another school, Lindow Grove 
 Academy, at Alderley, in Cheshire, to finish my 
 education. At this Academy an entirely diffe- 
 rent curriculum of study faced me. I plunged 
 into the classics, modern languages, and mathe- 
 matics under the learned Dr. Satterthwaite. 
 The life at Lindow Grove was delightful ; the 
 home life of the boys was pleasant, and sur- 
 rounded by refinement and culture. I had the 
 good fortune to have for schoolfellows some who 
 have taken important places in the history of 
 our time ; some have gone to their long home, 
 and the death-roll has been recently increased 
 by the name of J. P. Earwaker, the historian 
 and antiquary, and editor of the " Manchester 
 Court Leet Records." This is a monumental 
 work, and embraces the history of the city from 
 the days of Edward VL down to about the 
 middle of this nineteenth century. 
 
20 An Architect's Experiences : 
 
 CHAPTER IV. 
 
 TT7HEN a youth bids adieu to school days, 
 ^ * he becomes a constituent part of the life 
 of his time : he has hitherto had no cares, or 
 anxieties, as to how he shall live, or wherewithal 
 he shall be clothed. He has " turned to mirth 
 all things of earth, as only boyhood can." With 
 the end of his school days, however, comes the 
 real battle of life ; and the great point to be 
 considered is, how and in what way he shall , 
 fight it ? A thousand channels of commercial 
 enterprise are open : his country's defence, and 
 the maintenance of her military and naval supre- 
 macy, offer alluring baits for future promotion 
 and distinction. The field of science has charms 
 for the serious and patient ones ; the arena of 
 politics is temptingly open ; but the world of art 
 is surely the most precarious and doubtful of all 
 spheres of action likely to result in success or 
 worldly prosperity. There is, however, a fascina- 
 tion about art which cannot be resisted. Even 
 if moderate success only be achieved, the 
 
Professional, Artistic, and Theatrical. 21 
 
 devotee toils on in heroic admiration of his 
 mistress, and he resolves to live and die at the 
 shrine of his heart's love. 
 
 Notwithstanding the warnings received, and 
 suggestions made of probable failure, I deter- 
 mined to try my fate in the world of art. It 
 therefore came to pass that on the 31st of 
 October, 1855, I was duly and legally articled 
 to an architect m Manchester, Mr. P. B. Alley. 
 At that time one could almost count on one 
 hand the number of architects practising in the 
 city of Manchester ; certainly there were not 
 more than a dozen practitioners. My master 
 had, prior to my entering his office, been in 
 partnership with Mr. Richard Lane, the leading 
 architect of the town and district ; and the firm 
 of Lane & Alley had a touch of humour in it 
 which certainly did not suggest genius or high 
 art. In spite of the unpoetic title of the firm, 
 it was the local centre of classic thought ; and 
 the office at the corner of Chapel Walks and 
 Cross Street was regarded in my young days 
 with veneration and a certain amount of awe by 
 the aspirants to architectural fame. Mr. Lane 
 was a gentleman and a scholar. His practice 
 was almost exclusively devoted to an attempt 
 to force upon a commercial nineteenth-century 
 town, with a sunless and humid climate, the 
 refinement and perfect beauty of the art of the 
 Greeks in the golden age of Pericles. Such was 
 
22 An Architect's Experiences: 
 
 the school in which I was to receive my first 
 impressions of architectural practice. It was a 
 good school of study for a beginner ; but its 
 principles were impracticable for the time and 
 climate. Mr. Waterhouse, R.A., was the first 
 pupil to fall away from Mr. Lane and his severe 
 classic work, and Gothic art in Manchester had 
 its first great chance of exposition and applica- 
 tion in the Assize Courts. This event was the 
 death-blow to the repetition of Greek temples in 
 banks, town halls, churches, Quakers' meeting- 
 houses, and concert -halls. The principles of 
 mediaeval architecture were seized upon with 
 enthusiasm, and adapted to modern require- 
 ments. An.terior and partly coeval with this 
 new era of Gothic art revival, Mr. Edward 
 Walters had introduced the art of Italy into the 
 city. It may with truth be said, that what * 
 architectural beauty the streets of Manchester 
 possess, is mainly owing to this man of genius. 
 He used Italian architecture as the means of 
 giving beauty appropriately to the great , empo- 
 riums of the merchant princes. The student 
 who contemplates these warehouse fa9ades will 
 find an open book on Italian Renaissance, full of 
 truth and beauty. 
 
 It will be easily understood that a youth 
 entering the architectural profession at the 
 period I have spoken of, had ample opportunity 
 of seeing practical expression given to these 
 
Professional, Artistic, and Theatrical. 23 
 
 three great styles of architectural art. During 
 my five years of pupilage the office work was 
 prosaic, but lucrative. I remember we were 
 engaged principally on huge cotton mills, filled 
 with machinery from Messrs. Piatt Brothers, of 
 Oldham, the principal being the largest cotton and 
 spinning establishment in the world, and situate 
 on the Island of Narwa, near St. Petersburg. 
 We tried hard to give some architectural cha- 
 racter to the immense chimney-shafts and engine- 
 house windows. We occasionally succeeded, 
 when the cotton spinner had a soul that could 
 soar beyond cotton ; but it was uphill work, 
 and one got heartily tired of it. Reward for 
 this patient plodding came at last in some good 
 domestic work ; and when I left the office, in 
 1862, an interesting miscellaneous practice was 
 established. 
 
 Although the years of pupilage were not bril- 
 liant, as far as regards the artistic quality of 
 architectural work, they were in many ways 
 eventful years ; in fact, they constituted just the 
 period in which one's future was to be settled 
 for success or failure. It was during those years 
 that I made some friendships which I value to 
 the present day, and it was during this period 
 — namely, in 1857 — that the great Art Treasures 
 Exhibition was held in Manchester. 
 
 That wonderful collection of representative ex- 
 amples of bygone art, and of typical specimens 
 
24 An Architect's Experiences: 
 
 of the art of our own time, was to me a revela- 
 tion. Here I first came face to face with the Old 
 Masters. My mind, in its process of throwing off 
 the shackles of Classicism, was ready to embrace 
 the wonders of mediaeval and pre-Raphaelite art 
 gathered in the first gallery of that ever memor- 
 able Exhibition. I was able to understand the 
 raison d'etre of that small band of painters whose 
 inspiration was derived from this kind of art. It 
 is a curious thing that in after-life I should have 
 pleasant relations with some of these young and 
 earnest workers known as the " Pre-Raphaelite 
 Brotherhood," and with others who have reached 
 high positions in English art. I shall never 
 forget the wonder and admiration with which 
 I contemplated " The Procession of Cimabue's 
 Madonna" and the immortal "Autumn Leaves." 
 I may not in those youthful days have paused 
 to analyse the impression produced by these 
 early works of the two last Presidents of the 
 Royal Academy; but that they had considerable 
 influence in shaping out my future line of art, 
 I have not the least doubt. It was a curious 
 coincidence that in 1887, almost on the very 
 spot where hung the Procession picture in 1857, 
 I should have my first meeting with its author, 
 Sir Frederick Leighton, President of the Royal 
 Academy of England. He was pleased to con- 
 gratulate me warmly on what he called the 
 artistic success of my part of the Jubilee Exhi- 
 
Professional, Artistic, and Theatrical. 25 
 
 bition in "Old Manchester and Salford." Great 
 things have been done by Manchester men ; but 
 the Exhibition of "Art Treasures" in 1857 is a 
 unique event in the history of the city : it will 
 always in the chronicles of time be honourable 
 to the community. It constituted a distinct and 
 practical answer to the noble Duke who asked 
 " What in the world do you want with art in 
 Manchester ? Why don't you stick to your cot- 
 ton spinning?" It proved that whilst primarily 
 recognising the practical and utilitarian elements 
 of life, Manchester could love the beautiful, and 
 that its aspirations could go beyond cotton. 
 The Art Treasures Exhibition was truly an 
 honourable and brilliant event in the history of 
 the Second City of the Empire. 
 
26 An Architect's Experiences: 
 
 CHAPTER V. 
 
 IT is rather remarkable that during the years 
 of pupilage in an office which was more 
 practical than artistic in its work, I had asso- 
 ciated with me, either as fellow-pupils or friends, 
 young men who have become eminent in the 
 world of art. 
 
 When I look back to those early years of 
 professional work, I am inclined to conclude 
 that the real business of the office was gone 
 through in a slovenly and ineffective manner. 
 We were presided over by an exceedingly clever 
 man as managing assistant. He was occa- 
 sionally unreliable, on account of a tendency to 
 inebriate habits. He was a quaint old Welsh- 
 man, with grey hair and florid complexion. He 
 wore a half-shabby frock coat, and a grey-white 
 hat encircled by a faded black band. He was 
 generally known as " Old Francis," but we 
 
Professional, Artistic, and Theatrical. 27 
 
 always called him Tom, after Dickens' immortal 
 Tom Pinch. When inclined for a drinking 
 period, he would leave in the middle of an 
 important specification or a set of " quantities," 
 and from "coign of vantage" in the streets 
 would watch the Gov'nor's movements. If he 
 saw him going away towards a railway station 
 with a roll of plans under his arm, he would 
 sneak with cat-like tread into the office, and 
 whisper the interesting question into each 
 worker's ear, " Wilt thou len' me sixpence ? " 
 
 On one occasion, when we thought our master 
 had gone away for the afternoon, we threw aside 
 the "T square," and commenced a rehearsal of 
 "As You Like It" (for we were all stage-struck), 
 in the midst of which old Tom came in. He 
 regarded us in silence for a time with a sort 
 of half-inebriated smile ; then suddenly, to our 
 amazement, he jumped upon the table, buttoned 
 his old frock-coat to the throat, struck an atti- 
 tude, and shouted at the top of his voice, "You 
 fellows pretend to spout Shakespeare ; listen to 
 this." Then, in a solemn, measured style, he 
 commenced and recited the second book of the 
 " Iliad," keeping us spell-bound for a consider- 
 able time. About three parts through that 
 wonderful blank verse, our applause broke forth ; 
 we could resist it no longer. Our admiration 
 for the old fellow's wonderful memory, and his 
 dignified method of delivery, knew no bounds. 
 
28 An Architect's Experiences: 
 
 In the midst of this Babel of voices entered the 
 Gov'nor, returned earher than expected. There 
 were several artist friends present, and the way 
 in which they and old Tom sneaked out, leaving 
 the office in dead silence, was an artistic 
 achievement. 
 
 Arthur H. Marsh (now a member of the 
 Royal Water-colour Society) was placed under 
 my care. It soon became apparent that the 
 monotony of the "T square" did not suit the 
 temperament of the new pupil, and I fell a 
 victim to his scheme for introducing more artis- 
 tic culture into our lives. Part of our plan was 
 to borrow, for a few shillings per month, some 
 water-colour landscapes by a well-known local 
 drawing-master named Ward. These we copied 
 secretly during office hours, and, of course, in 
 the absence of the "master." On one occasion, 
 I recollect, when we were busy at work copying 
 these drawings, a young friend of Marsh's came 
 in, I think from Chester. Seeing our Avork, he 
 exclaimed, " I wish I could do that." He was 
 then, I think, undergoing the drudgery of a 
 school of art training at Warrington. We lent 
 him one of old Ward's drawings. He bought 
 two or three brushes and a few colours, went 
 home, made his copy, and in about a week's 
 time brought a result which astonished us. We 
 had many pleasant visits from him. He went 
 boldly to work at painting, and finally entered 
 
Professional, Artistic, and Theatrical. 29 
 
 the world of art. That young man was Luke 
 Fildes, now Royal Academician and painter of 
 pictures which have become historic, and are 
 superb examples of EngUsh art in the Victorian 
 Age. 
 
 Another method which we adopted for artistic 
 culture was to hold a Life Class at each other's 
 houses or lodgings, taking it in turns to stand 
 for " the altogether," as poor Trilby called 
 it. This class was joined by a young enthu- 
 siast whose fancy for art was being developed 
 through the mechanical processes of a photo- 
 graphic studio. This new-comer soon astonished 
 us by the rapidity and exactitude with which 
 he worked. In summer-time he would join our 
 sketching expeditions. No kind of subject came 
 amiss to him. On one occasion I challenged 
 him to make a sketch of an architectural sub- 
 ject in less time than I would produce one. 
 We had only twelve minutes left before starting 
 for the train. I selected a quaint overhanging 
 gablet, and he selected a doorway, through 
 which was seen a newel staircase. We drew in 
 with colour at once, I relying on my architec- 
 tural knowledge for victory. But, alas ! artistic 
 intuition enabled him to keep abreast with me, 
 and we finished " neck and neck," amidst the 
 laughter of our companions. I keep those draw- 
 ings with interest and affectionate regard. My 
 fellow-student was Joseph Knight, now a mem- 
 
30 An Architect's Experiences: 
 
 ber of the Royal Institute of Painters in Water 
 Colours, and whose works are honourable to 
 English landscape art. 
 
 The Manchester School of Art has produced 
 many men of note in the art world. This Insti- 
 tution was presided over in the fifties by J. A. 
 Hammersley, a landscape painter of consider- 
 able ability. Looking back to the days of his 
 mastership, it seems to me that Schools of Art 
 were very inferior places for study and artistic 
 advancement compared with similar institutions 
 which flourish all over the country at the 
 close of this nineteenth century. They were 
 certainly not calculated to make painters of 
 pictures ; the curriculum of study was based 
 upon the idea that line-drawing was favourable 
 to design, as applied to the manufactures carried 
 on in such a commercial centre as Manchester. 
 Those Schools of Art were originally called 
 Schools of Design. It was fortunate for us that 
 our master was a landscape painter ; he formed 
 a private class for teaching painting in the water- 
 colour medium, and my time for study was 
 divided between modelling in a dark and dirty 
 cellar of the Royal Institution (now the City Art 
 Gallery) and the bright upper region (now a 
 picture gallery). In this gallery a small band 
 of enthusiasts worked at copying Hammersley's 
 water-colour drawings. I look back with pride 
 to my being associated with that little happy 
 
Professional, Artistic, and Theatrical. 31 
 
 and hopeful brotherhood, including such names 
 as Clarence Whaite (now President of the Royal 
 Cambrian Academy), Frederick Shields, Basil 
 Bradley, Arthur H. Marsh (now members of the 
 Royal Society of Water-colour Painters). I am 
 not quite sure if the late J. D. Watson (with 
 whom I had a delightful acquaintance later in 
 life) was a member of this class; but I remember 
 that about this time he exhibited his first pic- 
 ture, entitled " The Return from Culloden," and 
 which I think must have been painted before he 
 left for London. I remember we were left much 
 to ourselves in that Water-colour Class, and it 
 was interesting to notice how the particular 
 bent of each student's mind developed. Basil 
 Bradley, the son of Bradley the well-known 
 portrait painter (in whose work the beautiful 
 grace and colour scheme of the Reynolds era 
 lingered), would cover the margins of his draw- 
 ing board with exquisite drawings of dogs, cows, 
 and sheep. Marsh amused himself in a similar 
 way, with figures of gallant knights, mediaeval 
 ladies, cavaliers, and lobster-backed helmeted 
 Roundheads, all drawn as though he had been 
 born and bred in a Life Class, although such a 
 medium of study did not exist in those days. 
 When Marsh's back was turned I would scribble 
 in castle backgrounds, drawbridges, and other 
 gothic piles of bricks and mortar. Those were 
 happy student days! Hammersley, I think, gave 
 
32 An Architect's Experiences: 
 
 us up in despair ; but I shall always remember 
 the candid way he talked to us. When any 
 particular phase of genius was displayed, such 
 as I have mentioned in the cases of Bradley and 
 Marsh, he would call it intuition, and cease 
 teaching or dogmatising, and confined his in- 
 struction to imparting a knowledge of technique 
 only. 
 
 I cannot close this chapter of early student 
 days without reference to my friend Shields. 
 About the end of the fifties Mr. Waterhouse 
 (now Royal Academician) commenced practice as 
 an architect in Manchester, and as before re- 
 marked, entered boldly into the Gothic revival. 
 He had a pupil named Edmundson, who had 
 struck up an intimacy with Shields, who liked 
 him for his free and open character, and for his 
 youthful love of art. Somehow it came about 
 that I was much in the society of these two 
 friends. The enthusiasm of Shields fascinated 
 me ; he was never idle, but always on the look- 
 out for character, and remarkably fond of child- 
 life. It soon became evident that through the 
 medium of this class of subject. Shields was 
 to become a man of mark in art ; and so it 
 happened. The commission for the illustration 
 of Bunyan's immortal work opened up a new 
 world of thought and action ; and through the 
 "Pilgrim's Progress" Shields bounded into popu- 
 larity and fame. To trace the subsequent history 
 
Frederic Shields, A.R.W.S. 
 By permission of C. E. Fry & Son, owners of the Copyright. 
 
Professional, Artistic, and Theatrical. ^z 
 
 of this distinguished painter's career would be 
 out of place in these pages, but I am proud to 
 have been associated with him in early student 
 days, and I experience satisfaction and pleasure 
 in the knowledge of his high position in the 
 world of art. 
 
34 An Architect's. Experiences: 
 
 CHAPTER VI. 
 
 T HAVE alluded to the sketching expeditions 
 ^ of early student days. Many of them were 
 pleasant experiences, and some of them were 
 attended with special interest. In the summer 
 of i860 Marsh and I determined to spend our 
 holiday at Haddon Hall. At this time Marsh 
 was engaged on working out a picture ; the main ' 
 idea was, I think, " The Capture of a Royalist," 
 and it was to the stately home of the Vernons 
 that we looked for a suitable background and 
 surroundings appropriate to the subject. After 
 a careful survey of the venerable pile, we found 
 our way to the top of the square battlemented 
 tower at the north - eastern extremity of the 
 second courtyard. As we opened the door on 
 to the "leads" a flood of sunlight lit up the 
 grey parapet, backed by a rich mass of dark 
 green fohage. Marsh exclaimed, " Here is my 
 subject!" "You see," he said, "the poor beggar 
 
Professional, Artistic, and Theatrical. 35 
 
 has been tracked through rooms, passages, and 
 secret doors, till his only chance of escape is 
 on the leads of the old grey tower. But the 
 * lobster backs ' have found him at last ; they 
 burst open the door, and there he stands, sword 
 in hand, with his pale haggard face, and his 
 flowing locks lying in disorder on the Vandyke 
 collar. I'll work it out." He made a beautiful 
 drawing as a study for the actual canvas. I 
 worked at an ambitious drawing of the first 
 courtyard, and we were well advanced with our 
 work when suddenly a heavy thunderstorm burst 
 over the place. I retired to the entrance arch- 
 way, and I was astonished to see Marsh making 
 for the same haven of safety. "Where have you 
 left your traps?" I asked. "Good heavens! I've 
 left them on the 'leads' when I ran for shelter." 
 1 know I said something emphatic about his 
 absence of mind, and rushed through the storm, 
 to save the work of several days. Everything 
 was floating inches deep in water, and the 
 picture ruined. It was, however, repainted. I 
 have alluded to this incident as it will serve 
 to introduce "Lizzie" to my readers. She was 
 the daughter of the custodian or caretaker of 
 Haddon Hall. She was a bright, elf-hke thing 
 with about twelve or thirteen summers on her 
 head, the personification of mischief, and the 
 plague of our lives. She enjoyed the catastrophe 
 of the spoiled picture immensely ; and when 
 
36 An Architect's Experiences: 
 
 taking visitors round the buildings she would 
 "chaff" poor Marsh before them, and taunt him, 
 till the poor fellow would fly in dire confusion. 
 
 On one occasion Lizzie conducted a gentle- 
 man and, I think, two ladies round the historic 
 old building. The gentleman made a remark to 
 me which involved rather a technical answer 
 on the architectural characteristics of the place. 
 Lizzie here interposed with the exclamation, 
 " Oh ! he knows nothing about it, and he thinks 
 he can paint, but he can't " — and off she flew 
 laughing with delight. When peace was made 
 between us, I asked if she knew who the gentle- 
 man was. She replied, " I think his name is 
 Hawthorne." At that time this name did not 
 represent a person of any interest to me; but 
 my astonishment was great, to find in after- 
 years, this incident and Lizzie described in 
 that masterly style which has placed Nathaniel 
 Hawthorne in the front rank of literature. In the 
 "Atlantic Monthly" an article appeared from his 
 pen, entitled "A Talk about Guides," and from 
 which I quote the following sentences: "Upon 
 completing our rapid survey of my lord's parlour, 
 and looking round for the guide that should con- 
 duct us further, she had become invisible. So 
 we moved on without her, and commenced ex- 
 ploring a narrow passage with a certain sense 
 of bewilderment at its loneliness, and the doubt 
 whither it might lead, when suddenly we were 
 
Professional, Artistic, and Theatrical. 37 
 
 startled by a merry laugh, which seemed to ring 
 through the air directly above our heads. Was 
 it a mocking spirit that haunted the place ? or 
 one of the old figures on the tapestry started 
 into life ? We looked up, and there on a rough 
 platform of pine boards projecting from the wall 
 stood our Fenella. She was bending over the 
 shoulder of an artist boy, who, seated at his 
 easel, was copying one of the Gorgon-heads 
 that stood out on the faded tapestry. She had 
 dismissed us wholly from her thoughts, and, 
 giving play to her native fun and coquetry, 
 was taunting the youth with the slowness of his 
 labours, and the little progress he had made 
 since she had inspected his work. . . . She 
 certainly made the most of her opportunity to 
 taunt and tease him, for there was time for a 
 laugh and a word of railing only, to which he 
 seemed too shamefaced to respond, before she 
 was at our side again gravely announcing, ' My 
 Lady's Chamber.' " 
 
 Dear little Lizzie ! we got very fond of her 
 before our holiday was ended. One would like 
 to know what fate the world had in store for 
 her, and whether she has teased a husband into 
 an early grave. I remember we left H addon on 
 a Saturday afternoon ; we had done a fair amount 
 of work for two youngsters, and felt satisfied with 
 ourselves. I was finishing a full-size drawing of 
 St. Ceciha instructing a young lady habited in 
 
38 An Architect's Experiences: 
 
 mediaeval costume, part of the glass of the east 
 window of the quaint old chapel. Lizzie hung 
 about in a listless sort of way (it was our last 
 day with the bright little lass), when we were 
 startled by Marsh rushing in, and evidently in 
 a frolicsome humour. We were fond of the 
 theatre, and, as I have said, were in our "stage- 
 struck" period of life. Marsh was so impressed 
 with the idea that the old rickety Jacobean 
 pulpit would do for the rostrum of the Roman 
 Forum, that he took possession, and started off 
 with Marc Antony's oration. The little maid 
 and I entered into the fun of the situation, and 
 instantly became the Roman mob, armed with 
 a mahl-stick and a sketching stool. Marsh was 
 a good reciter, and when he arrived at the 
 "Will" episode, we yelled (quite forgetting where 
 we were), "The will! the will!! the will!!! 
 we'll hear Csesar's will ! burn their houses — tear 
 them all to pieces ! ! ! " Accidentally looking 
 round we beheld a crowd of some half a hundred 
 persons who had crammed through the narrow 
 door unseen by us. Their merriment was ex- 
 treme ; our confusion complete. Those persons 
 were waiting for Lizzie's guidance, and not find- 
 ing her, they had been attracted to the chape' 
 by the angry exclamations of the Roman crowd. 
 We took an affectionate leave of our little 
 friend, and have never seen or heard of hei 
 since. Like Hawthorne, I may say : " I nevei 
 
Professional, Artistic, and Theatrical. 39 
 
 think of the mansion, with all the romantic 
 associations which cluster round it, but the image 
 of this child comes to break my reverie, as she 
 did on the day when it was first indulged. . . . 
 Silence, desolation, and decay have set their 
 seal upon Old Haddon Hall ; but chance has 
 set a child over them all, and the lesson her 
 simple presence teaches is worth more to me 
 than all the ' Idylls of the King.' " 
 
 The Manchester Academy of Fine Arts is an 
 institution that was founded during my student 
 days. Its objects are, to provide a Life Class for 
 advanced students and artists, and to hold an 
 annual exhibition of the works of the members 
 in the City Art Gallery. We young aspirants 
 to art knowledge and artistic facility, to be used 
 as a means towards a livelihood, found the 
 Academy Life Class of the greatest value, and the 
 society and supervision of our seniors a great 
 benefit. W. Knight Keeling, a dignified gentle- 
 man, a former pupil of Liverseage, was our 
 President ; Robert Crozier, portrait painter, and 
 a former pupil of Bradley's, was our Secretary ; 
 and Henry Calvert, animal painter, was our 
 Treasurer. The Life Class was attended by 
 tjiese gentlemen, and our company contained in 
 addition, Clarence Whaite, Barnes, Marsh, J. 
 Knight, Bowman (architect, and joint author, 
 with Crowther, of " The Churches of the Middle 
 Ages'"), WiUiam Morton (then engraver, now 
 
40 An Architect's Experiences: 
 
 painter), and others of note — Clarence Whaite 
 had painted his first large canvas, "The Advance 
 of the Romans in Britain," and also his cele- 
 brated small moonlight picture, which called 
 forth Ruskin's highest praise, along with the 
 celebrated criticism in which he described the 
 usual moonlight efforts as so many " sixpences 
 on slates." I continued to attend the Academy 
 Life Class till the advent of what is known as 
 the " Manchester School," a brilliant palette- 
 knife set of painters who did not care a brass 
 farthing for the " human form divine," but 
 luxuriated in the low tones and mysticism of 
 Corot and other French painters. I have often 
 regretted leaving that Life Class before my know- 
 ledge of the figure was completed, for I have 
 years ago arrived at the conclusion that the man 
 or woman who can draw the human figure can 
 do anything in art ; the absence of this faculty 
 is greatly against an architect's complete success 
 in his professional life. 
 
 We had an Etching Club in connection with 
 the Academy ; some admirable work was done ; 
 and in some cases indication was clearly given 
 of future excellence. Marsh had a good-natured 
 humour in his character, which he turned to 
 account in the little plate which, with apolo- 
 gies to Mr. Clavering Gunter, I will call the 
 " Ladies' Juggernaut." Although a compHment 
 was implied to the ladies in question, this little 
 
Professional, Artistic, and Theatrical. 41 
 
 etched plate annoyed them. It certainly cooled 
 the ardour of a crowd of suitors with whose affec- 
 tions they had dallied, encouraged, and refused 
 in the heartless manner of " Fhrts." 
 
 At the expiration of my Indentures of Pupilage 
 I remained with my master, Mr. Alley, for some 
 months, and earning my first salary, I had several 
 works of importance entrusted to my care, and 
 my first holiday as an assistant was spent in the 
 autumn of i860 in a sketching tour amongst the 
 Abbeys and Castles of Yorkshire. During this 
 tour I made the acquaintance of the late Sir 
 Gilbert Scott, at Ripon Cathedral. 
 
 After visiting London and the Exhibition of 
 1862, I in that year commenced practice as an 
 architect in chambers situated in St. James's 
 Square, Manchester. It might reasonably be 
 assumed that with the responsibilities of pro- 
 fessional practice student life would end ; in my 
 case this did not happen. I took the words 
 of the great architect I have just mentioned to 
 heart. He said: "Once a student in art, always 
 a student. I shall be a student to the end of 
 my life." 
 
 A holiday visit in 1858 to Lyme Hall, situate 
 near Stockport, in the county of Chester, caused 
 me to obtain permission of the owner, W. J. 
 Legh, Esq. (now Lord Newton), to study and 
 sketch certain portions of the Hall. This in- 
 teresting Anglo-Italian structure proved a source 
 
42 An Architect's Experiences: 
 
 of great interest, and instructed me thoroughly 
 in the kind of architecture for which we are 
 indebted to John of Padua, Thorpe, Smithson, 
 Inigo Jones, and Wren. The south front is a 
 fine example of the work of Leoni ; the work 
 of the Italian master was continued by Lewis 
 Whyatt, who I know was at work at Lyme 
 in 1815 from a letter in my possession. He 
 designed and partially built the stone con- 
 servatory, which, however, was left roofless and 
 in a ruinous condition up to the time of my 
 association with Lyme Hall. This incomplete 
 work of Whyatt's was destined to be the cause 
 of my first commission in the professional career 
 upon which I was then entering. Lord Newton 
 instructed me to complete the building. In 
 carrying out this work I came across Gatley, the 
 sculptor. He was a remarkable man : starting 
 life as a stonemason, in the neighbourhood of 
 Stockport, and showing great skill in the carving 
 of stone, he was sent to Rome to study the 
 antique at the Vatican. He established a studio 
 in the Imperial City, where his powers rapidly 
 developed. He designed a beautiful fountain for 
 the centre of the Lyme conservatory, which, 
 however, he did not live to carry into execution. 
 His last and grandest works were seen in the 
 Exhibition of 1862. These consisted of a colossal 
 bas-relief of an Egyptian subject, and a pair 
 of sleeping lions, natural size. His statue of 
 
Professional, Artistic, and Theatrical. 43 
 
 Delilah is at Lyme. Poor Gatley ! he was cut 
 off in the prime of life in Rome, and, if I 
 remember rightly, there was some suspicion that 
 his death was not a natural one. He was a 
 genius, and a simple, inoffensive man. Whatever 
 the cause of his untimely death, it seems to me 
 that he was one of the few men in this world 
 who cannot make an enemy. 
 
 It is not my intention to inflict on my readers 
 a history of my professional life. I shall, there- 
 fore, only allude to that portion of it which has 
 been associated with interesting events and per- 
 sonages of importance with whom I have come 
 in contact. My recollections of Lyme Hall are 
 very pleasant. I was entrusted with some im- 
 portant internal decorations. I designed and 
 built on an Italian model left by Leoni, the 
 large block of stables ; improved the gardens on 
 the south front by a series of terraces ; planned 
 farm buildings and model cottages. During the 
 execution of these works I came in contact with 
 Bailey Denton, Edward Kemp, cultured gentle- 
 man, landscape gardener, author of the text-book 
 " How to Lay Out a Garden," and William 
 Mercer, who was the steward of Lord Newton's 
 Cheshire and Lancashire estates, with whoni I 
 enjoyed many years of pleasant friendship. In- 
 creasing business cares brought my studies and 
 illustrations of Lyme Hall to a close, and their 
 proposed publication was abandoned. I was 
 
44 Aft Architect's Experiences: 
 
 reminded of this pleasant time recently by Lady 
 Newton, who told me that she still treasured 
 one of these early student efforts, a water-colour 
 drawing of the fine Elizabethan drawing-room. 
 
 In 1864 I made my first Continental tour 
 through Belgium, Germany, and Holland. At 
 this remote period my sketches and studies in 
 these countries bring the details and adventures 
 of that journey vividly before me ; the sweet 
 chimes of Antwerp are still ringing in my ear, 
 as they did when last I sat under the statue of 
 Rubens in the beautiful Place Vert. The archi- 
 tecture of the churches, town halls, and palaces 
 of Belgium and the Rhine fascinated me. I 
 returned convinced that there was no art equal 
 in beauty and poetry to that of the Middle Ages. 
 Shortly after arriving in England, I was elected 
 an Associate of the Royal Institute of British 
 Architects, and thus was fairly launched on a 
 professional career. 
 
 My first effort at a bid for fame was to send 
 in designs in competition for a Town Hall at 
 Pendleton, in Salford. I did my best to express 
 my admiration for Gothic architecture, but was 
 told by well-meaning friends that it would be well 
 to get out an alternative design in the Classic 
 style. I was astonished to receive the intimation 
 that I had won the competition with the Classic 
 design, and that the Gothic one had no chance. 
 Although disappointed, the result taught me a 
 
Professional, Artistic, and Theatrical. 45 
 
 wholesome lesson, namely, that mediaeval archi- 
 tecture required a special treatment to adapt it 
 to nineteenth century requirements — the sort of 
 treatment, in fact, that it has received at the 
 hands of Waterhouse, whose high reputation is 
 owing to his skilful adaptation of its spirit and 
 beauty, to the conditions of the time in which 
 we live. 
 
46 An Architect's Experiences: 
 
 CHAPTER VII. 
 
 TOURING the excitement consequent upon the 
 ■^-"^ Volunteer movement in this country, it was 
 decided that a corps composed entirely of archi- 
 tects, artists, and engineers should be established 
 in Manchester. By way of raising a fund for the 
 equipment of this corps, an amateur performance 
 was given at the Theatre Royal on the evening 
 of November nth, 1861. I mention this event 
 because it brought me into contact with the late 
 Charles Alexander Calvert, then manager of the 
 theatre for Mr. John Knowles. On this acquain- 
 tance a friendship resulted, which materially 
 affected my professional and social life. 
 
 When the Prince's Theatre in Manchester was 
 opened in 1864, Mr. Calvert was the manager ; 
 he inaugurated his career with a production of 
 " The Tempest," and the first of that brilliant 
 series of Shakespearian Revivals which helped to 
 mark a distinct epoch in the history of the stage. 
 I shall treat of this history at some length 
 
Professional, Artistic, and Theatrical. 47 
 
 hereafter when I deal with my theatrical expe- 
 riences; but it was owing to the success of these 
 "Revivals" that I was called upon by Mr. Calvert, 
 in the summer of i86g, to enlarge the theatre, 
 and to decorate and equip the building in an 
 artistic and luxurious manner. Thus commenced 
 my association with theatre architecture, with the 
 art of the stage, and with many distinguished 
 men and women who have adorned their pro- 
 fession ; and who have gained for the theatre 
 an amount of respect hitherto unknown in its 
 history. 
 
 During the preparation and carrying out of 
 these works at the Prince's Theatre in 1869 it 
 was necessary that I should frequently visit 
 London, as much of the artistic work was 
 executed by Metropolitan artists and workmen. 
 It was in this year that I made the acquaintance 
 of H. Stacy Marks (now Royal Academician). 
 He had painted a frieze of dancing figures for 
 the theatre in Long Acre with such success that 
 I determined to secure his valuable aid in the 
 decoration of the Prince's Theatre ; he accord- 
 ingly undertook the commission to paint a 
 Shakespearian frieze for the new proscenium. 
 Marks entered into this grand decorative work 
 heartily, and during its progress (it was painted 
 on canvas in his studio in St. John's Wood), 
 I had much pleasant intercourse with the art- 
 world of the Metropohs. I visited the Langham 
 
48 An Architect's Experiences: 
 
 Sketching Club with my old fellow-student Marsh, 
 where I made the acquaintance of J. D. Watson, 
 John Charlton, and poor Pinwell — cut off, alas ! 
 like Fred Walker, just as the world was beginning 
 to enjoy the fruits of his genius. I remember he 
 was dreaming over and making sketches for his 
 great water-colour picture, which he entitled "The 
 Elixir of Love," and which, happily, he lived to 
 finish. Marsh was busy on his first Academy 
 picture, and we had pleasant gatherings at his 
 studio, whilst Mrs. Kean (a favourite model) was 
 sitting in butterfly head-dress and mediaeval 
 tabard. John Charlton had just finished his great 
 equestrian portrait of the Empress of Austria ; 
 and many a merry laugh we had over recitals 
 of the trials and worries which beset the painter 
 of Royalty on horseback. 
 
 J. D. Watson was then living at a beautiful 
 spot at Milford, in Surrey, and thither we went 
 for what to me was a memorable week-end visit. 
 Birket Foster lived hard by, but further on 
 towards Portsmouth. " The Hill " was an ideal 
 home ; Foster had built it according to his own 
 fancy, and after the half-timbered style of the 
 " stately homes of England." I can add nothing 
 to the accounts of this home, which have fre- 
 quently appeared in print, and can only describe 
 it as I found it about a quarter of a century ago. 
 The house stands on an eminence ; the rooms 
 are low and cosy, and when the visitor leaves 
 
Professional, Artistic, and Theatrical. 49 
 
 the house by the terrace door a scenic panorama 
 meets the eye which is at once lovely and bewil- 
 dering. The editor of the Art Journal, Mr. 
 Huish, has said of it : "A constant and rapid 
 climb brings the visitor ultimately to a terrace, 
 on one side of which stands the house, and on 
 the other is unfolded a marvellous panorama. 
 Over a rolling champaign, almost hidden by 
 woods, is seen to the right Hindhead, the 
 highest point in the prospect, its barren summit 
 standing out a deep violet against the sunset 
 sky. Somewhat to the left, but apparently not 
 •much lower, comes the spur which terminates 
 in Blackdown, the topmost houses of Haslemere, 
 peeping over its crest, and on its flank the Poet 
 Laureate's house, and Lythe Hill, where so 
 many of Sir F. Leighton's best works are stored." 
 At the time I am writing of, "The Hill" was 
 open to any of Foster's friends after a certain 
 hour on Sundays, and there gathered men and 
 women great in art and literature ; some from 
 London and many from the immediate neigh- 
 bourhood. Poole, R.A., came in from his house 
 hard by ; Orchardson (now Royal Academician) 
 was there, in his tight-fitting trousers, with mili- 
 tary-looking limbs; so also was the late J. D. 
 Watson, with a handsome head and figure, and 
 soft, insinuating baritone voice; and A. H. Marsh, 
 clad in citron-coloured velvet. There also was 
 seen dear old Warwick Brooks, the best delineator 
 
50 An Architect's Experiences: 
 
 of child-life of his time, accompanied by his simple 
 and loving Lancashire wife, both lost in amazement 
 at the assemblage of notables, and the beauties 
 of the surroundings. To me on that memorable 
 Sunday the most interesting personality was the 
 late Charles Keene, of " Punch." Seated in the 
 summer-house, with its panels painted by Marks, 
 we noticed Keene cross the terrace with the ladies 
 of the house. This incident led Foster to tell us 
 about the one "hobby" indulged by the great 
 artistic humorist — his love of music, and his 
 passion for collecting musical instruments. With 
 this knowledge we induced Keene to take his 
 seat at the piano during the evening. The first 
 thing he sang was the quaint old hymn of praise, 
 
 " Deo gratias Anglia redde pro Victoria," 
 
 which, sung by thousands of voices, greeted 
 Henry V. on his entry into London, on the 
 return of his little army from the victorious- field 
 of Agincourt. I shall have occasion to allude to 
 this incident again ; but as I write now a vision 
 of the long thin-faced man, with hollow cheeks, 
 military moustache, and short imperial beard, 
 rises before me ; and at this distance of time I 
 fancy I hear his rich voice, and see his long thin 
 fingers running along the keyboard, as he realised 
 the quaint mediaeval music. 
 
 I remember a curious incident that happened 
 at "The Hill" in connection with this visit. 
 Foster took me into his studio ; there perched 
 
Professional, Artistic, and Theatrical. 51 
 
 up against the walls were the "lay" figures, 
 habited in the spotted frocks, sun bonnets, and 
 white aprons with which the world is so familiar. 
 Whilst examining these inanimate models I sud- 
 denly caught sight of a painted screen, con- 
 sisting of several flaps, illustrating the life of 
 St. Frideswide. "Why!" I exclaimed, "I have 
 seen that subject before." 
 
 "Where?" inquired my host. 
 
 "In a window in Christ Church Cathedral, 
 Oxford," I replied. I explained that having 
 thoroughly laid hold of the pre-Raphaelite idea, 
 the window had charmed and fascinated me. I 
 asked Foster whose work it was. " It's by Jones 
 — Burne-Jones," he replied. So fascinated was 
 Birket Foster with his screen, which he had seen 
 for the first time at a gathering at the Hogarth 
 Club (and which he had secured at a small 
 price), that he induced the artist to decorate the 
 walls of his dining-room at "The Hill" with 
 pictorial work. The result is historic. 
 
52 An Architect's Experiences : 
 
 CHAPTER VIII. 
 
 T"\7HILST busy with the work at the Prince's 
 * * Theatre I was persuaded to enter an 
 open competition for the first great abattoir 
 establishment in this country, to be erected by 
 the Corporation of Manchester. Young and 
 enthusiastic in those days, a public competition 
 was an exciting event. Having an original idea 
 as I thought (and which, strange to say, proved 
 to be a fact), I worked it out, and sent in my 
 plans. Whilst in London a telegram came to 
 me with the astounding news that my scheme 
 had obtained First Premium. I recollect telling 
 Marks of this piece of good fortune : after con- 
 gratulating me heartily, and with that quaint 
 spirit of humour peculiar to him, comparing me 
 to Macbeth, and referring me to Act II., Scene 
 I, of the tragedy, I left St. John's Wood and 
 hastened back to Manchester to enter upon this 
 large and important commission. 
 
Professional, Artistic, and Theatrical. 53 
 
 This original idea for an abattoir was copied 
 and used (I am almost justified in saying) all 
 over Europe, and with the exception of a fee 
 from the Corporation of Cardiff, no financial 
 benefit accrued to its inventor beyond the re- 
 muneration from the Manchester Corporation. 
 There is no protection for original design and 
 thought in bricks and mortar ! and seemingly 
 there never will be. 
 
 In this momentous year of 1870 I moved into 
 Brazennose Street, and accepted the honour of 
 a Fellowship kindly offered me by the Royal 
 Institute of British Architects. In this year 
 also I commenced some alterations and additions 
 to a residence at Pendleton, in Salford, for my 
 friend W. A. Turner. I record this work here 
 because this house, " The Laurels," was destined 
 to become the rallying point of local culture in 
 literature and art. Under its hospitable roof 
 many distinguished men and women of our time 
 have, been entertained. I record it also, because 
 it is associated with one of the dearest friendships 
 of my life. The making of friendships is a 
 curious thing, and the origin of my friendship 
 with William Alfred Turner was peculiar and 
 unexpected. 
 
 In December, 1861, the Prince Consort died. 
 Manchester went into mourning ; hatchments and 
 other tokens of distress were hung out. I had 
 turned my attention to Heraldry with a view to 
 
54 An Architect's Experiences: 
 
 its use as an architectural adornment : the study 
 of it had such a fascination for me that I went 
 deeper and deeper in my investigations. At that 
 time I knew enough to take exception to the 
 absurd manner in which the hatchments of the 
 Prince were painted and displayed on the public 
 buildings of the city. I pointed out these absur- 
 dities in the columns of the Manchester Guardian , 
 and a newspaper warfare ensued. I maintained 
 my position by an appeal to " Lancaster Herald" 
 (the post being then occupied by Mr. Albert 
 W, Woods, now Sir Albert and "Garter King"), 
 who most emphatically confirmed my statements. 
 The discomfiture of my enemies was complete, 
 and the absurd "heraldic anomalies" disappeared 
 from the streets. My intercourse with the College 
 of Arms has been maintained. The venerable 
 Garter King is still on his throne, and in 1894 
 he conferred an honour upon me in connection 
 with the Society of Antiquaries. 
 
 Sometime after this heraldic dispute my rela- 
 tive C. Bradshaw, eldest son of George Bradshaw, 
 of Railway Guide celebrity (before mentioned), 
 introduced me to a gentleman who brought with 
 him the great folio edition, 1724, of Guillim's 
 "Display of Heraldry"; he wished to colour 
 the blank shields : I instructed him in some 
 of the mysteries of the science, and gave him 
 the key to correct blazon. Little did I suspect 
 that this small incident was destined to develop 
 
Professional, Artistic, and Theatrical. 55 
 
 a love for art in my visitor which ultimately 
 won him the friendship and, I may say, the 
 affection, of some of the representative men of 
 our time in art and literature. It also came 
 about that I was destined to accompany him, 
 and to participate in most of his artistic pleasures, 
 till the close of his life in 1886. I shall have 
 much to say of Mr. Turner in these records, 
 and, although his death left a blank in the 
 pleasurable side of life, I never open the dear 
 old volume, " The Display," without thinking of 
 a friendship which meant so much to me, and 
 which arose out of an explanation of the "trick- 
 ing" of coats-of-a_rms. 
 
 Before closing the first decade of professional 
 life, I may briefly allude to two visits to the 
 Continent. In 1867 I went to the Paris Exhi- 
 bition, held in the Champ de Mars ; here I first 
 saw the works of Millet, Jules Breton, Corot, 
 and other artists, who influenced the methods of 
 that wonderful trio of English painters, Fred 
 Walker, George Mason, and George Pinwell : 
 these men almost trod on the heels of another 
 historic trio, the pre-Raphaelites, Millais, Holman 
 Hunt, and Dante Gabriel Rossetti. 
 
 In 1868 I went through Normandy and Brit- 
 tany, sketching the quaint domestic work, and 
 studying the round-arched Gothic so beautifully 
 illustrated in these northern French provinces. 
 When at Rouen, I had my first sight of the 
 
56 An Architect's Experiences: 
 
 Emperor, and the beautiful Empress. As they 
 drove down from the Cathedral we (myself and 
 two English companions) mounted the parapet 
 of the bridge crossing the Seine. We could not 
 understand the apparent apathy and want of 
 enthusiasm of a French crowd ; as the carriage, 
 attended by that magnificent corps the " Cent 
 Gardes" (habited in blue uniforms and glittering 
 armour), came abreast our "coign of vantage," 
 we raised a lusty English cheer. I shall never 
 forget the effect of that shout ; there was a sort 
 of halt in the procession, as though something 
 was going to happen, but the Emperor raised 
 his plumed hat, and the Empress bestowed on 
 us a smile which betokened her knowledge of 
 our nationality. We felt proud of our burst of 
 enthusiasm, and I record this somewhat trivial 
 incident because I believe our greeting was the* 
 last English one that rang in the ears of their 
 Imperial Majesties. Troubles were beginning. 
 The storm gradually rose during the following 
 year, and curiously enough, as I was preparing 
 for my honeymoon trip to Paris in 1870, came 
 Sedan; and then — the end of Imperial France. 
 
 In this year (1870) I was fortunate in having 
 two drawings exhibited at the Royal Academy. 
 I had prepared these drawings to illustrate the 
 interior decorations, carried out under my super- 
 vision, at the Prince's Theatre, Manchester. 
 "Varnishing day" was to me a great event; on 
 
Professional, Artistic, and Theatrical. 57 
 
 that day I not only met my friends who had 
 secured good positions in the world of art, but 
 I came in contact with many of the great painters 
 of the time. Later on came the Conversazione ; 
 this I attended by virtue of being an exhibitor. 
 Sir Francis Grant was then President ; attended 
 by the officials of the R.A., and a crowd of 
 Academicians, he received the company at the 
 top of the grand staircase. At this distance of 
 time I can call to mind the names of many of 
 the celebrities I heard announced ; I can see 
 again the sparkling jewels of the women, the 
 Garter ribbons, and other decorations of the 
 men. Although such scenes are familiar to m.e 
 to-day, I cannot forget the impression produced 
 on my young mind by such an event, and by 
 such a gathering of the representative men and 
 women of a quarter of a century ago. 
 
 In recalling such scenes one is forcibly reminded 
 of the fleeting nature of time, and of our short 
 tenure of earthly existence. Sir Francis Grant, 
 and many of his companions, have disappeared ; 
 (and strange to say) at this moment of writing, 
 February third, Eighteen hundred and ninety- 
 Six, the body of the successor to Sir Francis, 
 all that remains of that cultured man, that con- 
 summate artist, and courtly gentleman. Lord 
 Leighton, is passing through the dense crowds 
 of London citizens on its way to its last resting- 
 place by the side of Sir Joshua, and Wren, in 
 
58 An Architect's Experiences: 
 
 St. Paul's Cathedral. Truly the gaiety of the 
 Academy is eclipsed — who shall follow? — who 
 shall be found worthy to sit in the chair 
 dignified and graced by Reynolds, Lawrence, 
 and Leighton ? * 
 
 I have already alluded to my friendship with 
 Charles Calvert. In the summer of 1872 he 
 became my client ; he had purchased a house 
 overlooking the Alexandra Park in Manchester ; 
 he christened it "Avon Lodge," and I was com- 
 missioned to alter and decorate it. At this house 
 several of the great Shakespearian " Revivals" 
 were discussed, and it was here that dramatic 
 authors and great actors of the time came to read 
 new plays and to arrange for their production. 
 Here I first met the late Tom Taylor with his 
 play of " Handsome Is that Handsome Does," 
 written to supply a leading part for dear old 
 Compton. It was produced at the Prince's 
 Theatre. At Avon Lodge were seen the Hon. 
 Lewis Wingfield, young novelist and aspirant for 
 dramatic honours ; the late Alfred Thompson, 
 writer of pantomime and comic operas, costume 
 designer, and facile artist ; Alfred Cellier, then 
 conductor of the orchestra at Mr. Calvert's 
 theatre, and afterwards renowned in the musical 
 
 * Since the above was written, tiie giant of Englisli art, Sir 
 John Millais, has sat for a few short months in the presidential 
 chair; he also has gone to his long home, and Poynter reigns in 
 his stead. 
 
Professional, Artistic, and Theatrical. 59 
 
 world ; Ada Dyas, leading actress of the Robert- 
 sonian drama ; John Laurence Toole, and many 
 other celebrities with whom it has been my good 
 fortune to contract pleasant friendships. Many 
 memorable gatherings were held in the garden of 
 "Avon Lodge," where plays were discussed and 
 criticisms indulged in. Mr. Calvert arranged the 
 text of his stage productions, and when the 
 printed slips were completed, he would get me 
 to read them to him ; by this process he was 
 enabled to detect weak points, and to alter and 
 correct the " proofs." We often got excited over 
 the work, and it was fortunate that " Avon 
 Lodge " was surrounded by a high wall, or a 
 wrong construction might have been placed on 
 our doings, and the grounds might have been 
 mistaken for those of a private lunatic asylum. 
 The last play I read was Calvert's arrangement of 
 " Sardanapalus," first produced at the Alexandra 
 Theatre, Liverpool ; the late Frederick Clay 
 conducted on the first night his own music 
 specially written for the production. But I am 
 anticipating — I must leave the account of this 
 work for the theatrical portion of my narrative. 
 
 My professional work in connection with the 
 Prince's Theatre has left many pleasant memories. 
 In 1873 I covered the auditorium with a new 
 ceihng and small central dome, and from i86g to 
 the death of G. H. Browne in 1877 I was con- 
 stantly employed in providing for the comfort 
 
6o An Architect's Experiences: 
 
 of the audience, and in adding lavishly to the 
 decoration, furniture, and general appointments. 
 This professional work brought me into close 
 contact with many important personages con- 
 nected with the theatrical world, of whom I 
 shall have much to say hereafter. 
 
Professional, Artistic, and Theatrical. 6r 
 
 CHAPTER IX. 
 
 TN the year 1871, I built my own house in 
 -^ Broughton Park, on the outskirts of Man- 
 chester. I entered on this piece of extravagance 
 for two reasons. In the first place I wanted to 
 give expression to a few fanciful notions I had 
 in regard to modern domestic architecture, and 
 which I felt no client would ever be induced to 
 allow me to realise ; in the second place I 
 thought that what might be looked upon as 
 architectural eccentricities would arouse some 
 criticism and draw the attention of the public 
 to the fact that a young and struggling archi- 
 tect must advertise in some form in order to 
 live. I was not disappointed in the result of 
 this experiment ; before the house was finished 
 the historic Town Clerk of Manchester, Sir 
 Joseph Heron, insisted upon renting it, and 
 never rested content until he became the abso- 
 lute owner of the property. 
 
62 An Architect's Experiences: 
 
 Following out my programme in regard to pro- 
 fessional work, I have mentioned this matter 
 because it brought me into contact with the 
 cultured and artistic side of Manchester Society. 
 At the time I am writing of, it was a prevailing 
 idea with southern Englishmen that the city did 
 not possess a cultured or refined set of men and 
 women; that "clogs" were generally worn; that 
 the letter "h" was dropped out of the alphabet; 
 and that the ordinary intercourse of life was 
 carried on in a vulgar dialect. To a certain 
 extent such an idea of Manchester Society was 
 fairly correct a quarter of a century ago. The 
 old race of merchant princes was disappearing ; 
 their town residences of the middle and late 
 Georgian epochs were turned into offices and 
 warehouses ; everything was sacrificed to the 
 new race of commercial men, whose first, and 
 often only aim, was to collect money at the 
 expense of all culture, and the refinements of 
 social life. These new men were forced to 
 reside out of town ; consequently new suburbs 
 were called into being. Society cliques were 
 created, and the city was left without the 
 pleasures of refined social intercourse. Art, with 
 its refining influence, had no chance with the 
 men and women of this period ; and those who 
 were pleased to constitute themselves art patrons 
 bought pictures not from any knowledge of their 
 artistic value, but because the art dealer advised 
 
Professional,- Artistic, and Theatrical. 63 
 
 that such patronage gave importance and prestige 
 to their owner; and above all, that picture buying 
 was an excellent investment. I need hardly say 
 that exceptions existed to this condition of art 
 appreciation. Writing of this matter, a contri- 
 butor to the "Whitehall Review," in 1878, said: 
 " If we would see fine pictures we must cross 
 the town to Higher Broughton and Prestwich 
 region, where, though there is probably as much 
 wealth, there is less ostentation in its display, 
 and a truer knowledge of art. The Greek 
 merchants who congregate in the former region 
 collect with liberality, and, as a rule, a fine 
 artistic sense. Among the Enghshmen, Mr. 
 Craven and Mr. Tong possess some of the best 
 pictures in Manchester. The drawing-room of 
 Mrs. Tong — herself a leader of local Society, and 
 endowed with a most cultivated taste in art — is 
 graced with a collection of works by Burne-Jones 
 and Rossetti of singular interest." 
 
 It was owing to my friendship with the late Sir 
 Joseph Heron that I became a frequenter of that 
 drawing-room spoken of by the writer in the 
 "Whitehall Review." The Society gatherings at 
 the home of the Tongs were pleasant and often 
 remarkable events. Any stranger of note and 
 culture visiting the city was sure to find his way 
 to Higher Broughton ; here art was discussed 
 and music enjoyed. I recollect on one occasion 
 our hostess convulsed us by singing a parody 
 
64 An Architect's Experiences: 
 
 on the "Three Men of Bristol City," written, I 
 think, by Gilbert. Fred Walker was not present, 
 but I remember he was the " Little Billee," and 
 when his two companions — who are still living — 
 determined to kill and eat him, he escaped to 
 the mast-head — 
 
 " Land 1 land ! I said little Billee, 
 Trafalgar Square I see, 
 And soon an R.A. will be — 
 You two fellows may whistle for me." 
 
 At this distance of time I cannot recall all the 
 treasures of this home of culture ; but in addition 
 to the Burne-Jones and Rossetti pictures, I be- 
 lieve it was here that I first saw that superb 
 work by Millais, " The Vale of Rest," and also 
 George Mason's exquisite picture "The Gander." 
 I remember one peculiarity of our genial host : 
 he determined to protest against the common- 
 place evening dress of our time, and always 
 received his guests habited in a suit of black 
 velvet, with knee-breeches, silk stockings, and 
 silver-buckled shoes. The effect was picturesque, 
 but somehow the idea did not " catch on," and 
 nobody had the courage to follow the example. 
 
 This remnant of cultured Manchester has dis- 
 appeared long ago. 
 
 " All are scattered now and fled, 
 Some are married, some are dead." 
 
 The better-class people are mostly out of town, 
 and live in country districts, and there , is no 
 acknowledged centre of artistic and literary refine- 
 
Professional, Artistic, and Theatrical. 65 
 
 ment. Representative picture collections have 
 been mostly dispersed, and men of distinction 
 are entertained in clubland. The " Brasenose " 
 and the "Arts" open their doors for gatherings 
 in honour of the painter, the poet, the actor, and 
 the musician. The hospitality of the private 
 entertainer is a thing of the past, and remains 
 only as a pleasant memory to those who remem- 
 ber its charms and delights. 
 
 At the time I am now writing of, there were 
 several notable men of science in Manchester, 
 and business brought me into contact with the 
 renowned engineer, Sir William Fairbairn. In 
 the early years of my practice I was the recipient 
 of a rather curious commission. Messrs. Bevvley, 
 Moss, & Co., of Dublin, determined to erect a 
 large sugar refinery in that city, and I was 
 instructed to provide plans for this building. 
 Fortunately I had had considerable experience 
 in mill architecture under my old master, Mr. 
 Alley. I had worked on the plans of some large 
 cotton mills in Lancashire, and had been engaged 
 on the drawings of the largest spinning and weav- 
 ing mill in the world, built on an island in the 
 river Neva, near St. Petersburg. Such buildings 
 were erected on the fireproof principle, and my 
 clients determined that their refinery should be 
 constructed in a similar manner. Cast iron was 
 then exclusively used in girders and beams, as 
 well as in the supporting columns. When the 
 
 F 
 
66 An Architect's Experiences: 
 
 plans were completed, my clients were anxious 
 to have the constructive portion of the scheme 
 submitted to an engineer of eminence. I sug- 
 gested a consultation with Sir William Fairbairn. 
 This advice was acted upon, and I became for 
 a time closely associated with one of the most 
 distinguished men of the time. On the 17th of 
 August, 1862, I entered the sanctum of the great 
 man with diffidence and anxiety. Sir William 
 Fairbairn was a man of striking personality : he 
 had a tall commanding figure, slightly bending 
 forward from the shoulders ; his hair was white, 
 and his eyebrows were thick and overhanging ; 
 his eyes had a keen penetrating look, which gave 
 one the idea that he was not to be trifled with, 
 and that his time was not to be wasted. His 
 countenance to a youngster like myself was very 
 impressive, and, as somebody once said of him, , 
 " he looked wiser than ever any man was." 
 After hearing my story and examining the plans, 
 he said — I cannot recollect the exact words — 
 " I am convinced the time has arrived for the 
 introduction of wrought iron for bearing pur- 
 poses, and would like to try the result of my 
 thoughts and scientific investigations on your 
 Sugar Refinery." 
 
 When I consented to this course I little 
 thought that the great engineer would explain 
 his researches into the subject, show me his 
 "formulae," and make me the recipient of his 
 
Professional, Artistic, and Theatrical. 67 
 
 great knowledge on the new constructive develop- 
 ment. I spent much time with him; not only was 
 I impressed by his mechanical and mathematical 
 knowledge, but I came to take a pleasure in his 
 society and to respect him highly. The result 
 of this intercourse was that my building was the 
 first example of the new departure in iron con- 
 struction. In Sir William's book entitled " On 
 the Application of Cast and Wrought Iron to 
 Building Purposes," in the third edition, published 
 in 1864, he says: "Since the last edition of this 
 work was published I have had several opportu- 
 nities of testing the value of wrought iron beams ; 
 and in proof of their greater security and adap- 
 tation for buildings, such as mills, warehouses, 
 &c., where great weights have to be supported, 
 I have selected a fire-proof building eight storeys 
 high, erected for Messrs. Bewley, Moss, & Co., 
 for illustration. It is built for a Sugar Refinery, 
 and the weight which these floors and beams 
 have to sustain, when loaded with moist sugar, 
 has been calculated at 40olbs. on the square 
 foot, and the breaking weight of the beams is 
 computed at 106 tons equally distributed." 
 
 " This building is probably one of the most 
 important yet constructed with arches in wrought 
 iron beams, and we may here refer to it as an 
 example of what may be done by the introduction 
 of a material free from flaws, and much lighter 
 than cast iron." 
 
68 An Architect's Experiences: 
 
 I have placed this professional episode on 
 record, not only because it involved my acquain- 
 tance with one of the greatest engineers of the 
 time, but because it was the inauguration of a 
 complete revolution in constructive ironwork, and 
 the foundation of a gigantic industry. 
 
Professional, Artistic, and Theatrical. 69 
 
 CHAPTER X. 
 
 T HAVE said that I would not trouble my 
 -*- readers with details of professional life, except 
 when such details bear upon matters of general 
 interest ; and I will adhere strictly to this deter- 
 mination. I am, however, convinced that an 
 amusing and astonishing book might be written 
 •on the curiosities of architectural practice. The 
 painter and the sculptor have some curious expe- 
 riences, no doubt ; but the architect moves in 
 a wider circle, and comes in contact with all 
 sorts and conditions of men and women. The 
 architect's professional life is little known, and 
 often misunderstood by the general public ; and 
 this general public, as a rule, is no respecter 
 of persons or professions when business has to 
 be considered. If an architect is commercially 
 minded he gets on well, for he gives as many 
 kicks as he takes ; but if he is artistically minded, 
 and desires that good shall come out of the 
 
yo An Architect's Experiences: 
 
 exercise of his noble profession, he leads, com- 
 pared with that of his commercial brother, a 
 disappointed Hfe. He has to fight with the 
 client who knows what architecture is (or thinks 
 he knows) better than himself; he has to humour 
 the whims of the man who has to " pay the 
 piper," and worse than all, he has to work for 
 the client who has only a utilitarian soul ; — the 
 man- who says in effect, " Give me a good 
 square thing with a middle entrance, and a 
 room on each side, — I care nothing about sky- 
 lines, grouping, or perspective effects ; and none 
 of your ornament for me." If the poor architect 
 quarrels with these conditions he may starve, 
 and somebody else does the work, as a mere 
 matter of pounds, shillings, and pence. But oh ! 
 the luxury of having a client who puts his trust 
 in you, and takes what you give him, as a man 
 takes the physic prescribed by his doctor ! He 
 gets the best you have to give, and is satisfied ; 
 but if he should, in addition to his confidence 
 and liberality, have an artistic mind, and strive 
 after artistic things, then the architect's happi- 
 ness is supreme. It is such conditions as these 
 that make professional life pleasant, and which 
 generate friendships never to be forgotten. An 
 architect has more opportunities than most pro- 
 fessional men of social intercourse, because he 
 -is more in contact with his client and his sur- 
 roundings ; and if he is a man of average culture 
 
Professional, Artistic, and Theatrical. 71 
 
 he will work his way into those circles which 
 represent the most beautiful and the most intel- 
 lectual side of life. 
 
 This digression brings me to the point of 
 allusion to architectural practice, so far as it 
 influences my intercourse with representative men 
 and women. It was owing to the exercise of my 
 professional duties that I first came in contact 
 with the late Frederick Walker, and other of his 
 celebrated cotemporaries, who at the period I am 
 now writing of (1870) were either Associates or 
 Royal Academicians. 
 
 In the autumn of this year I commenced my 
 first professional work for my friend Mr. W. A. 
 Turner, of whom I have before spoken. He 
 was then full of artistic yearnings, and it was 
 a pleasure to alter and arrange his house, " The 
 Laurels," at Pendleton, in Salford, in a way that 
 would lead to a fuller development of artistic 
 thought. 
 
 Adjacent to this house stood, and in fact, still 
 stands, " Summer Hill," now the residence of 
 Mr. George Agnew, but which in 1870 was 
 occupied by his father. Sir William Agnew, Bart. 
 I was invited with my friend to' join the party 
 at " Summer Hill," to meet the distinguished 
 artists there assembled as the guests of Mr. and 
 Mrs. Agnew. There were dinners, suppers, and 
 entertainments during their visit, and (to me, at 
 all events) it was a memorable week. 
 
72 An Architect's Experiences: 
 
 Although I was acquainted with the works of 
 G. D. LesHe, PhiHp Calderon, G. A. Storey, and 
 H. S. Marks, I was only conscious of the genius 
 of Fred Walker, through his oil picture, entitled 
 "The Lost Path" — which, if I remember rightly, 
 was " skied " at the Academy — and by some of 
 his beautiful water-colour work. I had not see*n 
 "The Bathers" and "The Wayfarers," and did 
 not know that the letters "F. W." attached to 
 wood blocks stood for the name of the young 
 man I met at " Summer Hill." I shall always 
 remember a remark made to me by our host, 
 when I asked about Walker's work. "Ah!" he 
 said, "that young man has more art in his 
 little finger than exists in the whole body of the 
 Royal Academy." When I became acquainted 
 with "The Vagrants," "The Old Gate," and 
 " The Harbour of Refuge," I could understand Sir 
 Wm. Agnew's high appreciation of Walker's genius. 
 
 Although a period of about lo years had 
 elapsed since his first work was done for that 
 wonderful periodical " Once a Week," Walker 
 might at this period have been fairly described 
 in the words of my friend the late Tom Taylor, 
 as "a nervous, timid, sensitive fellow, frail and 
 small of body, feverish of temperament, but ever 
 prompt and bright of wit." I remember that 
 during these festive days at Mr. Agnew's, Walker 
 entered into all the fun of the time. One evening 
 he enticed some of us out of the room, unseen 
 
Professional, Artistic, and Theatrical. 73 
 
 by our host and hostess, and persuaded us to 
 disguise ourselves, and enter the drawing-room 
 as a party of mummers. He elected to appear 
 as a "Study in Black and White." With this 
 object he dressed in white pants, his white shirt 
 stuffed with a pillow and tied with a black girdle. 
 He arranged another white pillow, in a plum- 
 pudding shape, for a head. Leslie and Storey 
 drew two hideous faces on the protruding 
 stomach and pudding-shaped head with fingers 
 dipped in the soot of the chimney. When 
 we burst into the drawing-room, like a lot of 
 dancing and yelling lunatics, the effect can better 
 be imagined than described. Walker's agility, 
 however, resulted in a catastrophe which instantly 
 dropped the curtain on our " mumming." 
 Theatrical "tights" and the "pants" of com- 
 merce will stand a reasonable strain, but not that 
 to which they were subjected on this occasion. 
 We covered poor Walker's retreat as best we 
 could, and hurried panic stricken from the room. 
 At this period we resided in a district which 
 may be described as the " Eccles Old Road," 
 and we were a regular Church-going people ; to 
 absent oneself from Hope Church, especially on 
 the Sunday morning, was not to be tolerated. 
 However, the guests at "Summer Hill" were 
 not bound by the rules which regulated social 
 life in the district. In the absence of the family, 
 who were attending Sunday morning service, 
 
74 An Architect's Experiences: 
 
 they took possession of the newly erected bilhard- 
 room, with walls covered with a pale red " dis- 
 temper" colour, which was to do duty till they 
 were dry enough for more costly and appropriate 
 decoration. A happy thought, with a spirit of 
 mischief in it, seized the four distinguished 
 painters. With billiard chalk, and soot from the 
 fireplace, they proceeded to decorate the walls. 
 The end of the room was clear of gas brackets 
 and furniture*; on this they drew a sylvan scene, 
 occupying the entire wall. In the foreground two 
 young ladies of that type of beauty which G. D. 
 Leslie has so well painted, are leaning and 
 sitting on a balustrade. In the middle distance 
 is a lake, on which, under the trees in the far 
 distance, a lady and gentleman in nautical attire 
 are amusing themselves in a boat, under the 
 influence of a beautiful bit of sunlight. In the 
 water near the foreground are swans and a 
 handsome chanticleer. In the left-hand corner, 
 in plain letters, are scrawled in charcoal the 
 initials— "G. D. L., F. W., J. P. H., H. S. M. 
 Oct., 1870." These stand for Leslie, Walker, 
 Hodgson, and Marks. We often hear of col- 
 laboration of literary men and dramatic authors ; 
 but was ever a picture produced by such a 
 combination of genius ? In addition to this. 
 Walker drew a beautiful standing figure of a 
 woman, with flowers in her arms, on one side of 
 the square projecting window, and on the other 
 
Professional, Artistic, and Theatrical. 75 
 
 side a mermaid and mer-baby. If I remember 
 rightly, Marks exercised his humour by drawing 
 cats and dogs, as though suspended from the 
 gas brackets. After the lapse of a quarter of a 
 century, through the kindness of Mr. George 
 Agnew, I revisited " Summer Hill." There are 
 the pictures, just as they were found on that 
 bright Sunday morning when the family returned 
 from Church. Sir William Agnew has treasured 
 and protected these wall pictures ; they are 
 records of a bright time in the lives of their 
 gifted authors, and were intended as a pleasant 
 surprise for their host and hostess. 
 
 When I recall these incidents I am thankful 
 that I met Fred Walker before the cloud came, 
 which settled on his health, and which enveloped 
 his young life, before his art had reached its 
 complete achievement. Within five years of this 
 joyous time he died. George Pinwell died in 
 the same year (1875), ^.nd George Mason had 
 already left the world. Thus those three highly- 
 gifted painters were cut off, before the world 
 could know the full extent of their powers. It is 
 not an easy matter to assess the value of their 
 work, or to gauge the influence it has had on the 
 art of our time; but "he who runs may read" 
 the influence of Walker's method in the work of 
 some men who are not ashamed to admit how 
 much they owe to the brilliant genius of their 
 predecessor. 
 
76 An Architect's Experiences : 
 
 It is not my intention to enter upon an analysis 
 of Frederick Walker's work and methods ; but 
 having known the man, I may be permitted to 
 explain, for the benefit of those of my readers 
 not versed in the history of British art, what he 
 has achieved for its advancement. I once asked 
 the late J. D. Watson why he painted his fisher- 
 women and country girls as if they were the 
 aristocratic frequenters of a London salon mas- 
 querading in rustic costume? "My good friend," 
 he replied, "I never paint ugliness; and if you 
 only look about you, you will find as much 
 beauty — and more poetry — in the men and women 
 toilers on the sea, and in the fields, as you will 
 find among the habitues of a London drawing- 
 room." This speech of Watson's enabled me to 
 understand the raison d'etre of Walker's painting. 
 Jules Breton, Millet, and others have extracted 
 much beauty from the humble life of France. 
 Fred Walker has produced the same result from 
 the peasant and rustic life of England. In his 
 " Old Gate," for instance, the navvy, the young 
 labourer, and the village women are all beautiful 
 and noble types of humanity ; the mower in 
 "The Harbour of Refuge" swings his scythe 
 with a classic grace of action ; the ordinary 
 London lads in "The Bathers" might have come 
 from the Panathenaic frieze, and the woman with 
 folded arms in "The Vagrants" has all the 
 nobility and grace of a Greek statue. All this 
 
Professional, Artistic, and Theatrical. 77 
 
 beauty, nobility and grace, is the result of 
 Walker's perceptive faculty, which enabled him 
 to discover qualities in a realm of art which his 
 predecessors had failed to recognise. 
 
 In closing this account of my knowledge of 
 Fred Walker, I cannot resist the opportunity of 
 recording the fact, that through the liberality 
 of Sir William Agnew, his memory will be kept 
 green in the history of English art. "The 
 Harbour of Refuge " has found its last and per- 
 panent resting place in the National collection 
 in Trafalgar Square. 
 
78 An Architect's Experiences: 
 
 CHAPTER XL 
 
 TN the Spring of 1874 I received instructions to 
 -*- prepare plans for alterations and additions at 
 the Brasenose Club, Manchester. The history of 
 this institution might easily occupy a volume ; 
 indeed, "A Chronicle of the Brasenose Club" 
 has already appeared ; as, however, this work was 
 published for private circulation, I will give my 
 readers a brief review of the character and con- 
 stitution of this well-known Bohemian resort. 
 
 I had taken much interest in the formation of 
 the Club, and was an original member when the 
 first list was published in 1870. This Club is 
 unique in character, as far as regards the pro- 
 vinces ; in fact, it has been called on high 
 authority, " the only club out of London." It 
 has been so intimately associated with the art 
 and literature of our time, that I willingly embrace 
 the fact of my professional connection with the 
 Institution as an excuse for giving a short account 
 of its history, and of its influence for good, both 
 in and out of Bohemia. 
 
Professional, Artistic, and Theatrical. 79 
 
 The preamble to the Club Rules states: "The 
 Brasenose Club is instituted to promote the 
 association of gentlemen of literary, scientific, or 
 artistic professions, pursuits, or tastes." 
 
 The first circular announcing the formation of 
 the Club, amongst others, contained the signa- 
 tures of Sir Charles Halle, A. Waterhouse, R.A., 
 Sir Henry Roscoe, Samuel Pope, Q.C., Charles 
 Calvert, J. J. Hitchman (author of the " Life of 
 Lord Beaconsfield"), Edwin Waugh, the Lanca- 
 shire poet, H. F. Blair, now Indian Judge, Sir 
 John Holker, Du Val, the painter, and H. M. 
 Acton. The last-named gentleman for something 
 like a period of 40 years was attached to the 
 Manchester Guardian; his literary work contributed 
 largely to the present prestige and influence of 
 this well-known provincial journal. 
 
 The foregoing names will give some idea of 
 the representative character of this Club, at 
 the period of its creation in December, 1869. 
 The late Alexander Ireland, friend of Emerson 
 and Carlyle, and author of the " Booklover's 
 Enchiridion," was elected the first President, 
 and local artists, doctors, lawyers, and literary 
 men joined the roll of members. The Club has 
 been conducted on respectable Bohemian prin- 
 ciples, and its traditions of good-fellowship are 
 steadily maintained. For some years after the 
 foundation of the Club, the world outside its 
 walls clung to an idea that it was a compound 
 
8o An Architect's Experiences: 
 
 of genius and dissipation, and it was currently 
 reported that a certain M.P. had designated it 
 "The Abiding Place of Genius and the Home 
 of Vice." I have heard it remarked that this 
 cruel and slanderous definition was the result of 
 some defeat, brought about by the social influence 
 of the Club outside its walls. Be that as it may, 
 the Brasenose Club has done good work in many 
 ways, and its members have been true and loyal 
 to each other, and have endeavoured to uphold 
 before the world the dignity of their several 
 professions. 
 
 A local poet and humorist has immortalised the 
 Club in the following verses, entitled "Bohemia," 
 published in the Manchester Critic : — 
 
 Peradventure you have heard 
 
 Of Bohemia, 
 
 For a kind of household word 
 
 Is Bohemia ; 
 
 And have marked the curling lip, 
 
 And the nose's upturned tip, 
 
 When the name has chanced to slip 
 Of Bohemia. 
 
 It is deemed a shady State 
 
 Is Bohemia; 
 
 Seedy, shabby, second-rate, 
 
 This Bohemia ; 
 
 Where the day is chiefly night, 
 
 And the speech not too polite. 
 
 And the shirts are not too white — 
 Sad Bohemia ! 
 
Professional, Artistic, and Theatrical. 
 
 Few seem to understand 
 
 This Bohemia ; 
 This visionary land 
 
 Of Bohemia. 
 Can it be a ruffian haunt ? 
 Fit butt for sneer and taunt ? 
 Can none the virtues vaunt 
 
 Of Bohemia ? 
 
 Yes ! learn the truth from mine 
 
 Of Bohemia — 
 
 'Tis a symbol and a sign 
 
 This Bohemia, 
 
 Of distaste to breed offence ; 
 
 Of gifts without pretence ; 
 
 And of worth and common sense — 
 Is Bohemia. 
 
 Who ventures to explore 
 
 This Bohemia, 
 Shall find a boundless store 
 
 In Bohemia ; 
 It may be coarse enough. 
 But 'tis sterling honest stuff, 
 Like diamonds in the rough. 
 
 In Bohemia. 
 
 Let him make a standing toast 
 
 Of Bohemia, 
 
 Who does not blush to boast 
 
 Of Bohemia; 
 
 Though prudery gasp " fie ! " 
 
 Let him toss his beaker high, 
 
 And drain the vessel dry 
 
 To Bohemia ! 
 
82 An A rchitect 's Experiences : 
 
 It would be difficult to describe in better 
 language the raison d'etre of this Club at the time 
 of its establishment and during its early years. 
 It was a respectable Bohemian resort ; its mem- 
 bers were mostly impecunious, but the "generous 
 gifts without pretence" were freely given; the 
 helping hand was often held out and the cheering 
 word often spoken to the struggling and deserving 
 members. Ah, yes ! I could tell some secrets ; I 
 could tell of good deeds and noble sacrifices that 
 give one a belief in human nature. But — these 
 things are sacred, and the veil must be drawn 
 over the portal of the old clubhouse. 
 
 What social gatherings have been held in the 
 Brasenose Club ! and what representative men 
 have been seen within its walls ! Entering the 
 Club, either at mid- day or late in the evening, 
 the visitor would come in contact with the actors 
 who happened to be on tour and performing at 
 the Manchester theatres. Here he would meet 
 grand old Phelps, who would tell of his struggles 
 at Sadler's Wells, and of his first appearance 
 in Manchester, when the gas went out and left 
 the old theatre in darkness ; an incident that 
 filled him with a superstitious dread, and an 
 omen of failure in his profession. He might 
 be convulsed at the laughable tales told by 
 dear old Compton, genial " Johnnie " Toole, or 
 Sothern, the immortal " Dundreary," and he 
 would hear a chronicle of the doings under 
 
Professional, Artistic, and Theatrical. 83 
 
 the Bateman regime at the Lyceum from Henry- 
 Irving. 
 
 In the early days of the Club's life might have 
 been seen poor Randolph Caldecott, frail and 
 delicate-looking, but full of dry humour. Tiring 
 of counting guineas in a Manchester bank, he 
 was showing signs of his future greatness by 
 drawing scenes and incidents from the Cheshire 
 hunting field.* A group of legal gentlemen would 
 be observed, including Collins (now Justice 
 
 * My last sight of Randolph Caldecott was at the grand Costume 
 Ball held at the Prince's Hall, Piccadilly, on the 19th of May, 1885. 
 He was my introducer, and I still treasure the beautiful ticket 
 designed by Walter Crane and signed by Caldecott. What a 
 wonderful gathering of Royalty, artists, and literary people that 
 Ball brought together. " The Artists' Ball," as it was called, was 
 organised for tlje purpose of providing funds for the Royal Institute 
 Schools ; but I always have suspected that this object was an excuse 
 for the event. It was the greatest effort ever made in this country 
 by artists to illustrate bygone costume, both ancient and modern, 
 with correctness and exactitude. The Tableaux were explained by 
 Forbes Robertson in verse, entitled " The Masque of Painters," 
 written by Edmund Gosse ; and constituted perfect pictures, 
 arranged by some of the most celebrated painters of the time. 
 After the Tableaux the whole company adjourned to supper. I 
 recollect sitting down with Charles I., Maximilian, a Spanish 
 grandee in black velvet, and Benvenuto Cellini. The preparation 
 for that Ball was a serious and costly business. I elected to 
 represent a nobleman of the " Renaissance,'' and so enthusiastic 
 was everybody for truth to history and period that I had a 
 "Garter" collar with George pendant, made in Paris strictly in 
 accordance with the Statute of the Noble Order as laid down by 
 Henry VIII. ; the garter itself was studded with the finest paste 
 diamonds obtainable in London. I wore a real rapier of the 
 period'; also a beautiful pouch dagger of German make of the 
 
84 An Architect's Experiences : 
 
 Collins), Frank Lockwood (now Sir Frank), and 
 Falkner Blair, now an Indian Judge. Sir Charles 
 Halle was there, and remained with the Club till 
 his lamented death ; and Edwin Waugh, the 
 Lancashire poet, enjoying his favourite game of 
 "euchre," John H. Nodal, editor of the City 
 
 time of Maximilian. My "get-up" was voted a success; I had 
 to be photographed by elecric light for the album given to the 
 Princess of Wales as a memento of an event unique in the history 
 of " Fancy Dress " balls. 
 
 The Daily Telegraph thus described the event : — • 
 
 THE MASQUE OF PAINTERS. 
 
 This prominent episode of the grand historical ball which 
 was given last night at the Royal Institute of Painters in Water 
 Colours, in Piccadilly, and was honoured by the presence of the 
 Prince and Princess of Wales, will be long remembered for a 
 splendour and archaeological reality such as will find no parallel 
 in the chrdnicles of pageantry in England, even if we read the 
 accounts of masques in the reigns of Elizabeth and James I. A 
 picturesque age, in which the sumptuous habits of the nobles, and 
 of the wealthy classes who vied with them in display, adorned the 
 daily life of the people, was less likely to court exactness in that 
 external class of learning which is altogether of modern develop- 
 ment. In the stately shows graced by the poetry of Ben Jonson 
 and the elaborate ingenuity of Inigo Jones there was little thought 
 of accurate costume. Gods and goddesses, heroes and dames of 
 antiquity, were represented without much regard to appropriate- 
 ness of attire, and the dramatic poets, not excepting Shakespeare, 
 positively revelled in anachronisms. But we have reached the 
 utmost nicety of historical correctness on our modern stage, and, 
 despite the difficulty of reconciling this pedantic spirit with the 
 total indifference of the old dramatists to the archaeology of their 
 scenes and incidents, we ransack authorities for the right mode 
 of dressing a character who, in his speech, mixes all countries 
 and all times. The artists who joined in presenting last night's 
 series of pictures, poetically illustrated, were most fortunate in 
 
Professional, Artistic, and Theatrical. 85 
 
 News, H. M. Acton, Fox Turner, George Free- 
 mantle, and a host of art, musical, and dramatic 
 critics congregated in this abiding place of genius. 
 Another frequenter of the Club and member 
 of this Bohemian circle was Sydney Grundy, 
 now a great and popular playwright. He was a 
 
 their selection of personators for the historic figures in Mr. Edmund 
 Gosse's masque. In some cases, the physiognomy and very manner 
 of wearing the hair and beard were so close to living truth, as 
 established by authentic portraiture, that no alteration was needed. 
 In others, the artistic conscience did not hesitate where sacrifice 
 was necessary, and war to the razor was waged against the hirsute 
 chin. 
 
 Their Royal Highnesses, who arrived at ten o'clock, accom- 
 panied by their eldest daughter, the Princess Louise of Wales, 
 the Duke and Duchess of Edinburgh, Prince Edward of Saxe- 
 Weimar, Count Gleichen, and the Marquis of Lome, were con- 
 ducted to their seats, the large assembly rising on their entrance, 
 and presenting in the varied mass of brilliancy a sight as noticeable 
 as the scenes which were presently to follow. Music by the band 
 of Grenadier Guards was ended by a flourish of trumpets and roll 
 of drums, this being the prelude to each tableau. Then the curtain 
 was unfolded, disclosing Mr. J. Forbes Robertson, habited in a long 
 scarlet robe, with a crown of laurel on his head and a staff in his 
 hand ; and thenceforth he proceeded to tell us that Athene had 
 willed a fabulous design showing the pedigree of art, from its 
 Grecian cradle, surrounded by shadowy names : — 
 
 Phidias, whose men Uke marble mountains shone. 
 And he who reared the stately Parthenon, 
 Zeuxis, on whom the birds of heaven attend, 
 With wise Apelles, Alexander's friend ; 
 And 'midst them all, the mighty statesman moves 
 Who ruled amid the embowering olive-groves. 
 
 This announcement at once indicated the mission of Virgil, 
 which was, as chorus, to explain not only the Athenian picture 
 which followed, but other groups which were to succeed, these 
 
86 An Architect's Experiences: 
 
 man of strong individuality, even in those early 
 days. He was tall, erect, and stalwart of figure, 
 with an oval or rather long face, with an expres- 
 sion not easily read ; it was mostly in repose, 
 often wearing a thoughtful, almost absent look, 
 but capable of lighting up at a good story, or of 
 
 being emblematic of periods in the history of art centuries later 
 than the Augustan poet's epoch. The scene first presented was 
 not to be suFpassed in purity and grace of design by any subsequent 
 tableau. Mr. A. Sacheverell-Coke had arranged the background, 
 part of a Greek street, as well as the grouping by which it was 
 presently to be filled. An unfinished building, with scaffolding and 
 loose blocks of marble, indicated the commencement of the Par- 
 thenon ; and when the curtain had fallen on Mr. Forbes Robertson's 
 prologue it soon rose again to show Pericles consulting Ictinus, the 
 architect, and Phidias, the sculptor, regarding the edifice, while in 
 the background Zeuxis was seen discoursing with some Athenian 
 ladies. Mr.' John Fulleylove made a noble and dignified Pericles, 
 and the Ictinus and Phidias of Mr. H. M. Paget and Mr; John 
 Nettleship were alike irreproachable. The greatest success, how- 
 ever, was the perfect Greek embodiment of Zeuxis by Mr. John 
 Scott, a figure unsurpassed by any in the pictures that were to 
 follow. Orchestral music, as before, intervened, on the fall of the 
 curtain on Mr. Sacheverell-Coke's beautiful design ; and the next 
 tableau was thus announced by the chorus, in good declamatory 
 style : — 
 
 Ages have passed, and lol before me stand 
 The new-born glories of the Tuscan land : 
 Dante, with whom I trod the shores of hell ; 
 And Beatrice whom he loved so well; 
 Giotto, whom wandering Cimabue found, 
 A mountain-shepherd, scrawling on the ground ; 
 And all whom young Italian springtide filled 
 With godlike rage to paint or carve or build. 
 
 As soon as Mr. Walter Crane's picture in arched compartments — 
 a triptych — was disclosed, the idea must have struck every critic 
 
Professional, Artistic, and Theatrical. 87 
 
 smiling at a witty response. It so fell out that 
 he left the Club in its early days, and the city 
 during the mayoralty of his father. He settled 
 in London, and in his first literary effort, given 
 to the world in three - volumes — entitled "The 
 Days of His Vanity" — he took occasion to 
 
 strangely and forcibly that no original painter can get away from 
 himself ; that here, for instance, was a composition by Mr. Walter 
 Crane, not to be mistaken for the work of any other artist. 
 Everything that followed helped to strengthen this impression. 
 The pictures were as much pictures, in the ordinary sense, as if 
 they had been painted by the several men who arranged them. 
 Mr. Crane had designed a representation of the arts of Florence,. 
 Rome, and Venice. The first-named subject occupied the centre. 
 Here was viewed a Florentine garden, such as Rossetti might 
 have imagined, full of cypresses and orange-trees, behind which 
 rose the tower of the Palazzo- Vecchio. Mr. A. Sacheverell-Coke 
 appeared as Dante, with a Beatrice sweetly impersonated by Miss 
 Lehmann. Mr. Crane's own representation of Cimabue was simply 
 perfect. The tableau in some details was enriched by embroidery, 
 the work of his accomplished wife, which would very well have 
 passed for a chef d'ceuvre of Italian thirteenth century needlework, 
 Mrs. Crane herself was the Laura to Mr. Carlyle Spedding's 
 Petrarch ; and among the ladies of Florence grouped in this 
 picture, which might have been conceived by Cimabue himself,: 
 and which, to make it thoroughly in keeping with the pictorial 
 art of the age, included an angel with a cithara — appeared 
 Boccaccio's Fiametta, in the charining person of Miss Stillman. 
 
 Rome was typified in the right-hand compartment ; and the 
 resemblance of Mr. John O'Connor to the most authentic and 
 expressive portraits of Michael Angelo, notably to the famous 
 bust, wqs positively marvellous. Standing on the steps of a 
 terrace in the garden of the Vatican, he was seen showing to 
 Pope Julius II. (Mr. S. Sidley) an architectural design. At the 
 foot of the steps, easily recognised in the excellent "make-up" of 
 Mr. E. R. Hughes, was seen Raphael, looking up at his great rival. 
 
88 An Architect's Experunces: 
 
 describe some of his friends of the Brasenose 
 symposia. Now he. occupies a high place in the 
 dramatic Hterature of the time. 
 
 In 1870 raged the Franco-German war ; its 
 progress was watched with keen interest by- 
 members, inasmuch as their fellow-member, G. T. 
 Robinson, went out as "Special Correspondent" 
 for the Manchester Guardian. Robinson was a 
 singular man, and had points of character which 
 
 The Venetian picture to the left, rich in the colour of the school, 
 showed a glimpse of the city from a balcony of the Ducal Palace, 
 looking on the Grand Canal, with the Column of St. Mark, and the 
 Island of St. George beyond. A characteristic figure in the art of 
 the Giorgione period, a gentleman in the dress of a companion 
 of the Calza, was afforded by Mr. C. W. Deschamps, who, with a 
 mandolin in his hand, sat looking up at two Venetian ladies, Miss 
 Galloway and Miss Margaret Lehmann, nobly habited. Giovanni 
 Bellini, exactly like the portrait engraved in Mrs. Jameson's 
 " Lives of the Italian Painters," was impersonated by Mr. Lewis 
 Jarvis; while, as if observant of the group, two prominent figures 
 were the President and Vice-President of the Institute, Mr. James 
 
 D. Lindon and Mr. J. H. Mole, the first-named gentleman consum- 
 mately dressed and appointed to represent Paul Veronese, and the 
 second equally in character as Titian. 
 
 A sturdy period of Teutonic history, of burgher strength, thrift, 
 and culture, was richly and' forcibly illustrated in the next tableau, 
 arranged by Mr. James D. Lindon, and as exemplifying the style 
 and manner of the artist, was as remarkably characteristic as any. 
 Not a figure, not an attitude, was there in this picture of Albrecht 
 Diirer's studio that was not thoroughly Lintonian. In point of 
 costume, it was perhaps the most splendid of any ; and the asser- 
 tion that nothing equal to it has ever been seen by living eyes in 
 England may be made without hesitation or fear of denial. Mr. 
 
 E. J. Gregory, A.R.A., was the quaintest and yet most natural 
 portrait of Albrecht Diirer that can be imagined. The Emperor 
 
Professional, Artistic, and Theatrical. 89 
 
 were certainly unique, even in the Brasenose 
 Club. He was an architect by profession, and 
 he tried to persuade me to go out with him to 
 the seat of war. 
 
 "You had better come, old man;, we shall 
 find lots of sketching," he said. 
 
 " How are we to sketch with bullets whizzing 
 about us ? " I asked. 
 
 " Oh ! we'll dodge behind trees and things." 
 
 Maximilian (Mr. R. J. Stock) was a grim picture of austere 
 condescension as he seemed to hear " The Prince of German 
 handicraft" explain his print of "The Triumph.'' The Holbein of 
 Mr. H. Stevens and the Lewis Cranach were both excellent ; and 
 the Peter Visscher of Mr. James Orrock was a transcendent piece 
 of genuine character. A noble figure in this tableau was that of 
 an unnai^d personage in armour, who might be regarded as one 
 of Maximilian's knights. The superb suit was from the famous 
 collection of the Baron de Cosson, and the wearer was the Baron 
 himself, who knows not only how to judge armour, but how to 
 stand in it. The very jewellery used in this tableau was real and 
 authentic, being Jent from the cabinets of well-known collectors. 
 All was of the Holbein period, cunning of invention and workman- 
 ship, with artful enrichments of precious stones, mostly in their 
 rough state. The curtain fell on this grand picture, somewhat stiff 
 and artificial it may be, but nevertheless rich and noble as any- 
 thing that Flemish art itself has produced, and once more the 
 polished elocution of Mr. Forbes Robertson was heard in the 
 careful versification of Mr. Gosse. 
 
 The Cellini period was shown at the next rising of the curtain, 
 and here again the rich realism of the scene was enhanced by the 
 employment of accessories veritably historical. Invidious as it may 
 seem to praise one of these tableaux more than another, one might 
 be pardoned for avowing some slight partiality here and there ; 
 and to many it must have seemed that the picture designed and 
 arranged by Mr. R. Caton Woodville, representing a terrace in 
 
go An Architect's Experiences: 
 
 However, sketching under such conditions did 
 not recommend itself to me. Robinson, at that 
 time, was of a restless and discontented disposi- 
 tion, and the wild and exciting hfe of a war 
 correspondent recommended itself to his keen 
 appreciation. He said farewell to his fellow- 
 front of the Palace of Fontainebleau, in the time of Francis I., 
 was next in attractiveness antl vivacity to Mr. Sacheverell-Coke's 
 Greek scene with which the Masque began. Captain A. Hultan, 
 who represented Benvenuto Cellini, presenting specimens of gold 
 and silver plate to King Francis (Major Wallace Carpenter), had 
 spared no pains nor expense in the enrichment of the living 
 portrait. Grangee, of Paris, had made for him a fluted breast- 
 and back-plate, engraved and gilt, as if by Cellini himself, and, 
 with this sumptuous addition to his costume, he presented an 
 ensemble not unworthy the effective likeness which his picturesque 
 head and features bore to the Italian artificer. Benvenuto's pupils, 
 Paolo Romano and Ascanio da Tagliacozza, supposed to have 
 fashioned the plate which is being presented by their master to 
 the King, were handsomely impersonated by Mr. F. Verrall and 
 the Hon. Duff ToUemache. 
 
 Velasquez was the central personage in the next tableau, 
 arranged by Mr. Seymour Lucas. As might be expected from his 
 semi-Spanish tendency of colour, and real veneration of the master 
 chiefly honoured in this design, the arrangement was highly effec- 
 tive. A certain sombre depth and richness of red and black, with 
 strong breadth of shadow, afforded, moreover, some relief after a 
 continued sequence of splendour and brilliancy. The jjainter's 
 studio was invested with an interesting reality by the canvases on 
 the walls, and by the heavy Spanish shutters, which, though of 
 the ordinary household description nationally common throughout 
 Spain, are peculiarly suitable to an artist's purpose of admitting 
 light at any angle, and of moderating its intensity. Mr. Cafe's 
 personal resemblance to Velasquez entirely absolved him from any 
 task of making up. The occasion of a Royal visit to the painter's 
 studio, Philip IV. (Mr. Haynes Williams) being a principal figure 
 
Professional, Artistic, and Theatrical. gi 
 
 members of the Club, and it was generally 
 supposed that he would be seen no more within 
 its precincts. 
 
 The progress of the war was watched with 
 almost feverish interest, and I have often heard 
 members exclaim, " Wonder where Robinson is 
 
 therein, enabled Mr. Lucas to infuse the design with considerable 
 grandeur. Truthfulness was aided throughout by the happy 
 accidents of portraiture, the likeness of Miss Day to the pictures 
 of Queen Mariana being so extraordinary as to border on the 
 wonderful. True, this was not by any means a singular case, as 
 we have seen and shall yet see. Velasquez was showing to the 
 King his picture. " Las Meninas," for which Philip decorated the 
 painter with the Order of St. Jago. Cardinal Caspar de Borja 
 was depicted with scrupulous care by Mr. Fred Barnard, who, like 
 other representatives of historic personages in this Masque, had 
 shaved off every vestige of hair on his face. Not so complete a 
 sacrifice was needed on the part of Mr. Louis Cornelissen. This 
 gentleman, a. lineal descendant of the Antonius Cornelissen whom 
 Vandyke painted and engraved, might have sat both for his 
 ancestor and for Alonzo Cano, whose portrait was painted by 
 Velasquez; the resemblance between Cano and Vandyke's friend, 
 Cornelissen, being peculiar. When in Madrid Mr. Seymour Lucas 
 copied the picture of Cano, and Mr. Louis Cornelissen, with some 
 trimming of the beard, was the living image of the painter's work. 
 Another Cardinal — the Cardinal Rospigliosi — is a figure in the 
 picture. The King is leaning on his arm as he is decorating 
 Velasquez. Mr. John B. Gardyne, the representative of the second 
 Cardinal, happens to own a no less valuable relic than that great 
 ecclesiastic's robe, which piece of sartorial history came aptly into 
 service last night. 
 
 A very pleasant picture, recalling Hobbema in its background, 
 which indeed has been borrowed by the painters from a well- 
 known landscape in the National Gallery, was the old Dutch 
 house and garden in Haarlem, once the home of Franz Hals and 
 Jan Van der Meer. This tableau was the joint invention and 
 
g2 An Architect's Experiences: 
 
 now ? " He sent some interesting letters to the 
 Guardian. Suddenly his communications ceased. 
 Sedan came ; the Empire fell ; and Napoleon 
 the Third resigned his sword to the conquering 
 Kaiser. What had become of Robinson ? The 
 Club was about to mourn his untimely end, when, 
 to everybody's amazement, a letter appeared in 
 the Guardian by "balloon post," from the be- 
 leaguered city of Metz. There he was, shut up 
 with Bazaine's fine army — too soon, alas ! to 
 be traitorously delivered over to the conquering 
 
 arrangement of Mr. W. W. Wilson and Mr. Edwin A. Abbej'. On 
 the right were seen a group drinking and talking round a table, 
 quite in the old Dutch pictorial fashion, Rembrandt filling a glass 
 to Cuyp ; while Ostade and Teniers are watching a game of bowls 
 which some boors are playing. A woman in front, in black and 
 white, gives the key to the general scheme of colouring, which 
 approximates throughout to dark browns and blacks in contrast 
 with the light tone. The next tableau, arranged jointly by Mr. 
 Seymour Lucas and Mr. Charles Green, might with advantage 
 have been cut into two, or even three. Nevertheless, though a 
 little crowded, it had its fine points. Its form was a hemicycle, 
 rising pyramidally between columns. At the summit stood 
 Charles I., represented by Mr. Arthur Lucas, who had followed 
 to perfection the portrait in the Louvre. Queen Henrietta Maria, 
 impersonated very faithfully by Miss Florence Cotton, sat just 
 below, watching Vandyke, whose individuality, as in the act of 
 painting the King, had been caught with delicate iinesse by Mr. 
 Alfred Mason, some sacrifice and much alteration of beard having 
 conduced to a highly characteristic likeness. Prince Rupert, behind 
 ths Queen, found an equally fortunate type in Mr. Arthur Hacker, 
 the artist who has come so prominently forward this year. On one 
 of the lower steps, broadening in succession to the base, was a per- 
 fe;;tly wonderful Hogarth — fur cap, brown coat, surly look and all — 
 
Professional, Artistic, and Theatrical. 93 
 
 enemy. That surrender liberated Robinson. 
 After days of famine and many "hair-breadth 
 'scapes," he walked one morning quietly into the 
 Club, filled his short pipe, and stared at me and 
 exclaimed, "Well, old fellow, when I heard the 
 trumpet sound the retreat at Gravelotte I didn't 
 expect to see you again." 
 
 Robinson was a hero in the eyes of his fellow- 
 members, and they determined to celebrate his 
 safe restoration to the Club by a banquet. This 
 event took place on the gth November, 1870, in 
 
 depicted, quite in his liabit as he lived, by Mr. C. M. Barker, who 
 held the English painter's palette with the line of grace and beauty 
 visible thereon. A little aloof from the others stood Sir Joshua 
 Reynolds conversing with Angelica Kauffmann and Gainsborough, 
 this group of notables being severally represented by Mr. R. R. 
 Collins, Miss Alma Tadema, and Mr. W. S. Stacey. Neither Mr. 
 Lucas nor Mr. Green entered into their own composition ; but 
 their costumes as outsiders were admirably picturesque. There 
 was, apparently, an agreement between them to play a game of 
 turn-and-turn-about, the first-named painter wearing a Gains- 
 borough suit and silver-hilted sword, very much in Mr. Green's 
 style, and this gentleman himself being habited in a black Spanish 
 dress, more in the manner of Mr. Lucas's pictures. Both these 
 artists, and in some degree Mr. Linton also, have been greatly 
 assisted in costume by Mr. Charles May, on whom has fallen 
 much heavy work of the Masque as well as of the Costume Ball. A 
 Spanish lady, of nearly modern style, but exceedingly picturesque, 
 down to her bewitching shoes, was incidentally represented by 
 Mrs. Seymour Lucas ; and, coming late into the field, Mr. C. B. 
 Birch, A.R.A., threw himself most effectively into the Dutch group. 
 After the curtain had fallen on the last tableau, the Royal party 
 retired, the company left the Prince's Hall for supper, and, 
 returning shortly afterwards, began the ball in earnest. 
 
94 An Architect's Experiences: 
 
 the clubroom. It was an extraordinary speech 
 made by Robinson, in response to the toast of 
 his health. In this speech he recounted his 
 adventures, and accused Bazaine of treachery in 
 dehvering up the last section of that fine army 
 which still represented the Empire of Napoleon 
 the Third. Robinson wrote a book on the 
 Franco-German War. In that book he said 
 strange things and made some serious charges. 
 Subsequent history has fully justified his state- 
 ments and accusations, and the unfortunate 
 Bazaine has passed away and left behind him a 
 dishonoured memory. Robinson's book still holds 
 a place on the Club bookshelves, and will there 
 remain as a valuable addition to the history of^ 
 a war which ruined the French Empire and con- 
 soHdated the great " Fatherland " over which 
 Kaiser William held his imperial sceptre. 
 
 In writing of the Brasenose Club my object is 
 simply to place on record the fact of its existence 
 as probably the most extraordinary institution of 
 its kind ever established in provincial England- 
 In addition to its own social life, its house 
 dinners, and its compliments paid to its own 
 members eminent in Literature, Art, and Music, 
 it has entertained many eminent visitors : notably. 
 Sir Henry Irving, Sir Julius Benedict, Dr. Villiers 
 Stanford, 'and Professor Bridge. At its concerts 
 such eminent men as Barton McGuckin and 
 Frederick Dawson have made their first bow to 
 
Professional, Artistic, and Theatrical. 95 
 
 a jury of experts ; and Sir Charles Halle has 
 frequently delighted his fellow-members with his 
 wonderful pianoforte playing. 
 
 On the two occasions when Sir Charles Halle 
 and Sir Julius Benedict were specially entertained, 
 speeches were made which seem to have so much 
 public interest, that I have, with the permission 
 of the Editor of " A Chronicle of the Brasenose 
 Club," quoted them in extenso for the benefit of 
 my readers who may be interested in musical 
 history. 
 
 On the night of March 13th, 1885, Sir Julius 
 Benedict was entertained at supper. The grand 
 old composer was in Manchester for the purpose 
 of conducting his own opera, the ever-popular 
 "Lily of Killarney," at the Theatre Royal. This 
 was done under the auspices of the Carl Rosa 
 Opera Company. Sir Julius was conducted to 
 the Club by Carl Rosa, George Freemantle, and 
 others. In response to the toast of his health, 
 the veteran composer said it was a late hour to 
 rise and make a speech, but what was, perhaps, 
 a late hour to some of the gentlemen present was 
 not so to him, because he found the early hours 
 in the morning were the best for thinking, and 
 he generally retired to rest at a late hour. 
 Knowing that he must soon be called upon to 
 make the long journey, he wished to make the 
 most of his time. Notwithstanding the little 
 sleep he took, he never had occasion to consult 
 
g6 An Architect's Experiences: 
 
 a doctor. He had many friends in the medical 
 profession who occasionally invited him to dinner, 
 but he supposed it was proverbial that when a 
 man dined with his doctor he took no harm. 
 (Laughter.) But he must explain that in addi- 
 tion to keeping good hours he was moderate 
 in his indulgences. In acknowledging the kind 
 things that had just been said of him, perhaps 
 the most acceptable thing for him to do would 
 be to give one or two reminiscences of his life. 
 In this connection he might mention that he 
 was preparing his autobiography, and that he 
 hoped soon to be able to give to the world many 
 recollections of the incidents in his long career. 
 He thought he might say that he had been 
 privileged to see more than most of his colleagues. 
 Not only had he witnessed many great events in 
 music, but he had been present at some important 
 political events in Paris, Naples, and Berlin, and 
 even in London. In 1820, when he was a boy 
 of 15, he had the privilege of going to Weimar, 
 where he became a pupil of Hummel, one of the 
 first executants of his time, and most distinguished 
 for his powers of improvisation. In that town, 
 which was called the German Athens, he had the 
 privilege, not to be introduced to— because he 
 was then an innocent boy — but to see the great 
 Goethe walking in the park with the Grand Duke. 
 He also saw Goethe at rehearsals at the theatre, 
 where — as a pupil — he had the privilege of going 
 
Professional, Artistic, and Theatrical. 97 
 
 and assisting. The recollections of that time 
 he would never forget. They were to him as if 
 they were but of yesterday. He used to sit in 
 a private box. They must not imagine, because 
 of this circumstance, that he was in the habit of 
 indulging in any extraordinary luxury. Prices 
 were not then so extravagant as they are now, for 
 his seat in the private box did not then cost more 
 than two shillings per night. To this day he had 
 a vivid recollection of parting words, which he 
 used to hear at the door of the theatre : " Good- 
 night, Goethe," " Good-night, Schiller," and so 
 forth. Of course, it was not the real Schiller, 
 because Schiller was dead before he (Sir Julius) 
 was born, but it was his nephew, who was an 
 officer in one of the German regiments. That 
 period was written in letters of gold in his 
 memory, not only because of those illustrious 
 individuals he was privileged to see, but because 
 about that time he heard Weber sing over pri- 
 vately the whole of the opera of "Der Freischutz" 
 before that work had been given to the public. 
 Although, as they knew, Weber was not gifted 
 with a good voice, he sang the opera with an 
 effect which could hardly be believed possible. 
 His declamation, his fire, and his enthusiasm 
 were perfectly contagious. Weber took an in- 
 terest in him which was very flattering, and was 
 really, he might say, a second father to him. 
 Immediately after that he went to Berlin, where 
 
 H 
 
g8 An Architect's Experiences: 
 
 he heard the first performance of " Der Freis- 
 chutz," on the anniversary of the Battle of 
 Waterloo. He was in the pit on that memo- 
 rable occasion, with his cousin Heinrich Heine. 
 (Applause.) To describe the impression that 
 opera made, and the sensation it produced 
 amongst those present, was almost impossible. 
 After the performance there was a great supper 
 at a kind of coffee-house in the city, at which 
 there were present, amongst others, the celebrated 
 Hoffmann, the author of the " Fantasie-Stiicke" 
 — the celebrated musician, painter, and poet. 
 Hoffmann went forward to Weber and crowned 
 him, saying that he looked very much like 
 Tasso. Then, at Vienna, he went to the first 
 performance of " Euryanthe," which has never 
 been appreciated as it ought to be. That was in 
 J823. In Vienna, off one of the great thorough- • 
 fares, there was a little street called Kohl Markt, 
 in which there was a little music shop which 
 Beethoven frequented every day. He and some 
 of his companions went into the shop simply to 
 see Beethoven, not at all expecting to speak to 
 him. One day, however, he induced the music 
 seller to introduce him to Beethoven, who, as 
 they knew, was very deaf, and therefore used to 
 carry a book, in which anyone who wished to 
 speak to him entered what he had got to say. 
 Most entertaining and most witty Beethoven was. 
 Whenever anybody was introduced to him in the 
 
Professional, Artistic, and Theatrical. gg 
 
 music shop, the person introduced was told not 
 to say much, but only to give the topic, and 
 Beethoven would do the talking. One notable 
 event happened about that time. Weber, in his 
 younger days, had been guilty of a grave fault, 
 for which he reproached himself ever after. A 
 literary man, as well as a composer, he wrote in 
 a somewhat cynical vein, and he never forgave 
 himself for writing an injudicious critique of one 
 of Beethoven's greatest works: "The C minor 
 Symphony." 
 
 The middlemen and busybodies took hold of 
 the circumstance and incensed Beethoven very 
 much against the writer of the criticism. Before 
 Weber had made atonement for his offence, 
 Beethoven brought out his "Fidelio," and Weber 
 wrote to Beethoven, who was very much pleased 
 with the letter. At the time he (Sir Julius 
 Benedict) was introduced to Beethoven, Weber 
 was in Vienna, and after his introduction 
 Beethoven said to him, " So you are a pupil 
 of Weber. Why doesn't he come to Baden to 
 dine with me?" Then he opened Beethoven's 
 book and wrote in it, "May I come too?" 
 and Beethoven replied, "Yes, saucy fellow, 
 you may." Great as was the impression which 
 Goethe made upon him, the impression made 
 by Beethoven was, if "anything, still greater. 
 Beethoven was not tall, but rather under-sized 
 and strongly built. His cheeks had a most 
 
100 An Architect's Experiences: 
 
 extraordinary flushed colour. He had flowing 
 hair, snow-white bushy eyebrows, most piercing 
 eyes — eyes which, once seen, could never be 
 forgotten, and a most charming mouth. The 
 whole expression of his features afforded an 
 indication of his genius. (Applause.) Along 
 with Weber, he one day drove to Beethoven's 
 house at Baden. On going into the house a 
 horrible sight suddenly met his eyes. A man 
 who ought to have lived in palaces was seated 
 in a very dingy room, very badly papered, with 
 all kinds of things — dirty papers, dirty music, and 
 other things — lying in the middle of the floor. 
 Beethoven was sitting at a Broadwood piano 
 half unstrung. When they entered Beethoven 
 rose and embraced them, and was altogether 
 most delightful. The conversation that after- 
 wards took place at the dinner-table was most 
 interesting. From Vienna Sir Julius proceeded 
 to Naples, then to Paris, and thence to London. 
 To his life in each of these places and to the 
 distinguished musicians he met he made brief 
 allusion. In conclusion he said that whenever 
 he had been able to do so he had helped young 
 artists, and he beheved that at the present time 
 he had not got what could be called an enemy. 
 (Applause.) 
 
 At the conclusion of the speech the company 
 rose and cheered enthusiastically, and every 
 member present felt that to have listened to a 
 
Professional, Artistic, and Theatrical. loi 
 
 man who had shaken hands with Beethoven, 
 and who had been the pupil of Weber, was 
 an experience to be valued and to be treasured 
 with the precious things of life. 
 
 On the 24th of February, 1886, Dr. Villiers 
 Stanford was entertained. He came to Man- 
 chester to conduct his own oratorio, "The Three 
 Holy Children," at Charles Halle's concert on 
 the following evening. 
 
 In addition to Dr. Stanford, the gathering 
 included Mr. Charles Halle, Mr. Carl Rosa, Mr. 
 Edward Hecht, Mr. de Jong, Mr. Max Mayer, 
 Mr. J. Bradley, Dr. Watson, Dr. Hiles, and Mr. 
 E. J. Broadfield. Mr. G. Freemantle, the chair- 
 man of the Club, presided. After dinner he 
 proposed the health of the guest of the evening. 
 He expressed the pleasure he had in seeing 
 around him so many old friends, representatives 
 of music in Manchester, who had met to do 
 honour to the Englishman whose oratorio was 
 about to be produced under the conductorship 
 of Mr. Charles Halle. The toast was cordially 
 pledged. 
 
 In acknowledging the compliment. Dr. Villiers 
 Stanford said he was not a little pleased that the 
 date of the dinner had been changed. He was 
 invited, in the first place, to meet the members 
 of the Club on the Friday evening, the day fol- 
 lowing the performance of his oratorio, and he^ 
 received the invitation with a degree of tremor 
 
102 An Architect's Experiences: 
 
 when he recollected a certain incident. He re- 
 membered — and he hoped he might be pardoned 
 the comparison, which he made in all modesty 
 — that on the occasion of the production of 
 " Euryanthe," at Vienna, the orchestra were 
 invited to supper after the performance, on con- 
 dition th^t the opera was successful. As a 
 matter of fact, " Euryanthe," on its production, 
 only secured a succes d'estime, and when Weber 
 went down to look after the preliminary arrange- 
 ments for supper he found in the room a solitary 
 double bass, who said that, inasmuch as he had 
 been pleased with the opera, he did not see why 
 he should not enjoy his supper. He was specially 
 pleased to be with them that night because of the 
 circumstance that Mr. Halle was present. It so 
 happened that the first time he heard an orchestra 
 — it was, he believed, as far back as 25 years ago, 
 in an ancient capital — Mr. Halle was present. 
 Mr. Halle might have forgotten it, but the effect 
 of the brass on that occasion was such as a novice 
 was not likely readily to forget. He remembered 
 Mr. Halle came up to him and said, "If you have 
 much to do with this sort of thing, it is nothing 
 to what you may have to endure in after life." 
 He did not know whether Mr. Halle was fore- 
 casting the experience of the Niebelungen music 
 dramas or — what he would mention with bated 
 breath — the possibilities of the music for the 
 brass instruments in his own score; but this early 
 
Professional, Artistic, and Theatrical. 103 
 
 experience, at anyrate, left a great impression 
 on him. He expressed his gratification with the 
 kind words used by the Chairman in speaking of 
 him, and with the manner in which the toast had 
 been received. 
 
 The health of Mr. Charles Halle was next pro- 
 posed from the Chair and duly honoured. In 
 his speech in reply, Mr. Halle narrated some 
 interesting reminiscences of his career. His ex- 
 perience,, he said, dated back a long way. In 
 fact, he almost looked upon himself as a sort of 
 antediluvian beast. For instance, many of those 
 present might be scarcely able to realise the truth 
 of his statement when he said he was once an 
 almost daily guest at the house of Cherubini, a 
 man who might, perhaps, be said to belong to 
 another century. He made Cherubini's acquain- 
 tance in the year 1837, and the recollections of 
 the time he spent under his roof were some 
 of the most cherished recollections of his life. 
 Cherubini was old then and he (Mr. Halle) was 
 young. Every Sunday evening for many years 
 he went to Cherubini's house, and passed the 
 evening with him and a French composer named 
 Breton, who was older than himself. To each 
 of them he had to play a few of the sonatas 
 of Beethoven. It was instructive to hear the 
 remarks of Cherubini about those sonatas. They 
 were gone through chronologically. Cherubini 
 was simply delighted with them. Spohr he made 
 
104 ^'^ Architect's Experiences: 
 
 the acquaintance of in the year 1826 — a httle 
 further back than the time at which he met 
 Cherubini. He (Mr. Halle) was only a boy then, 
 and remembered that his father was along with 
 him in the room. He was much struck, he 
 remembered, at the huge dressing-gown Spohr 
 wore. From that moment he conceived the idea 
 that all great composers must look like that, but 
 he had known since a good many composers who 
 were very lean indeed. Donizetti he met at 
 the house of a French banker. In the course 
 of conversation reference was made to "The 
 Barbiere " of Rossini, and he asked Donizetti, 
 "Is it really true he wrote 'The Barbiere' in a 
 fortnight ? " to which Donizetti made answer, 
 " Oh, it may be quite true — he always was so 
 ' lazy." If he lived more than a hundred years 
 he would not forget that laughable answer. Of 
 Berlioz, his most intimate friend, with whom he 
 lived till the time of the Revolution, he could 
 not say much, because he was one of the most 
 silent men he ever knew. They would sit in the 
 same room for an hour or two, Berlioz astride a 
 chair and his arms folded over the back of it, 
 and he (Mr. Halle) in a natural position. They 
 sat there, never saying anything, but smoking all 
 the while ; and then Berlioz would go away, 
 saying, "A very happy evening indeed." But 
 Berlioz could talk now and then when he wanted. 
 Paganini was another of his friends, or rather. 
 
Professional, Artistic, and Theatrical. 105 
 
 he might call him a sort of protector. He (Mr. 
 Halle) was then — ^as he had remained since — very 
 timid. To see Paganini, for a young boy such 
 as he then was, even to look at him, was to be 
 inspired with awe. Paganini took very kindly 
 to him, and very often asked him to his rooms 
 and asked him to play to him. The playing 
 he seemed to like ; at all events he made no 
 remarks about it. At that age,, when no remark 
 was made one took it as a compliment. He 
 had never heard Paganini play, and he was as 
 anxious as he could be to get him to play some- 
 thing, but had never the courage to ask. One 
 day, therefore, it was with a beating heart that 
 he saw Paganini go to his violin case. He 
 opened the case and took his violin out. He 
 (Mr. Halle) could hardly breathe, so intense was 
 his joyful excitement. Paganini began to tune 
 the violin, and after doing that he put the violin 
 back again. He did not know that he could say 
 that from that time he had known Paganini. 
 Proceeding to refer briefly to the state of orches- 
 tral music 50 years ago, compared with its 
 present state, Mr. Halle said he remembered 
 hearing a Manchester orchestra in 1848. He 
 did not know whether there were many present 
 who remembered it. He was driven away from 
 Paris at the time of the Revolution, not by 
 political reasons — by more serious reasons — and 
 a great musical amateur, who was a friend of 
 
io6 An Architect's Expeviences: 
 
 his, induced him to come to Manchester. He 
 did come. At the first concert that was given 
 he said to his friend, " I shall pack up and 
 leave to-morrow, I cannot stay in a place where 
 such an orchestra is possible." To begin with, 
 the appearance of the orchestra was something 
 wonderful. In front a number of double basses, 
 and the violins and the rest of the orchestra 
 behind. And as to the music they produced, it 
 had better not be spoken of. It was a fact that 
 in the year 1848 there was in London only one 
 musical society, and it gave what was commonly 
 called classical chamber music. Of other con- 
 certs there were none in London. When he 
 came over from Paris the director of the society 
 asked him to play at it, and he proposed to play 
 one of Beethoven's sonatas. The director said 
 it was impossible ; he might play it as one of a 
 trio, but as to playing it alone, that was impos- 
 sible. He defied anybody to find a programme 
 which gave one of Beethoven's sonatas as having 
 been played in public in London up to that 
 time. The difference between then and now 
 was that any sonata of Beethoven — he men- 
 tioned Beethoven in a typical way, but his 
 remark was equally applicable to Weber and 
 other composers — was new then, and one had 
 to consider whether it might be acceptable to 
 the public, whereas, nowadays, every sonata was 
 old, and when one was choosing one of them to 
 
Professional, Artistic, and Theatrical. 107 
 
 produce he had to think which had been least 
 played. Another great change had been effected 
 by the large number of young English composers 
 who had risen up since then. He heartily thanked 
 the gentlemen present for the honour they had 
 done to him. 
 
 The toast of " The Visitors," proposed from 
 the Chair, was acknowledged by Mr. E. J. 
 Broadfield. 
 
 In answer to calls, 
 
 Mr. Carl Rosa said that a good many years 
 ago, after his return from America, he came to 
 Manchester and played first violin, but that did 
 not do. Then he went to London and tried 
 second violin in quartets, and that would not do. 
 Then he took to the viola, and, as he found he 
 had not power enough there, he tried conducting. 
 Then, when he was not able to do that, he 
 became an impresario. The next step was the 
 workhouse. That step, he was glad to say, lie 
 had not yet taken. 
 
 This was the first and last speech made by 
 Carl Rosa to his fellow-members. Alas ! he has, 
 like several others present on this occasion, joined 
 the " majority," and his genial presence is lost 
 for ever. 
 
 The life of the Club went merrily along until 
 the city bells tolled the death of Lancashire's 
 poet- — Edwin Waugh. On the 30th of April, 
 1890, he quietly breathed his last, in his home 
 
ic8 An Architect's Experiences: 
 
 at New Brighton ; and the sweet songster's voice 
 was silent for ever. 
 
 It has been said that it is a source of pride to 
 write a nation's songs; and judging by the effect 
 of Waugh's death on the people of Lancashire, 
 this would appear to be a truthful utterance. 
 The heart of Lancashire was deeply moved when 
 its favourite poet died. The Saturday Review, 
 in an able article, said : " It is said that, as a 
 nation, we are somewhat deficient in popular 
 appreciation of literature. The funeral of Edwin 
 Waugh, on Saturday last, at Manchester, attended 
 as it was by thousands of representatives of every 
 class and grade of society, shows that Lancashire 
 at least knows how to render the last honours to 
 the man who worthily represented the charac- 
 teristic poetic gift of the county. His ditties have 
 sweetened the bitter lot of some ; have given 
 pleasure to many ; have provoked wholesome 
 laughter and honest tears ; and have strength- 
 ened the love of home and its homely virtues 
 arnong the Lancashire folk. What more shall 
 we ask from a poet or people ? And what higher 
 praise can we give him ? " 
 
 Amongst those thousands of people who 
 gathered on Saturday, the 3rd of April, i8go, 
 to attend Waugh to his last resting-place, the 
 members of the Club he loved so well appeared 
 in large numbers. When the last strains of the 
 beautiful hymn died away in the Kersal Church- 
 
HllWIN Waugh. 
 Frum u ph,,!os,i:ifh hy Waiwick Brook, 
 
Professional, Artistic, and Theatrical. log 
 
 yard, they keenly felt the loss of a dear friend ; 
 and that a characteristic figure had departed for 
 ever from the life of the Brasenose Club. 
 
 In 1890 a great event happened in the history 
 of the Club. On the gth of December was 
 celebrated the attainment of its majority. This 
 event was marked by the memorable " Coming 
 of Age Dinner." As an account of this dinner 
 has been published I need not trouble my readers 
 with details : the event will always live in m}- 
 memory, as I happened to occupy the presidential 
 chair during the year i8go, and had to act as 
 chairman on the occasion. It was a bright and 
 honourable episode ; brilliant speeches were made 
 by eminent and learned men ; and the evening 
 was brought to a close by a programme of music 
 and song, the selections being by the members, 
 and thus concluded a memorable day and night 
 in the history of the Brasenose Club. 
 
 The Club is still an important social institution 
 in the city of Manchester, and the motto I would 
 place over its hospitable portal is — 
 
 " Floreat." 
 
no An Architect's Experiences: 
 
 CHAPTER XII. 
 
 TN the year 1875, I was entrusted with the 
 ■*- decoration and furnishing of the handsome 
 new building, completed in this year, for the 
 Manchester Conservative Club. This was a 
 large order, or rather, I should say, commission. 
 I had to devise the style of the furniture, and 
 a scheme of decoration in harmony with the 
 architectural character of the building. This 
 was one of those pleasant undertakings in which 
 the architect had the full confidence of his 
 clients ; and in which his dictum on artistic 
 matters was never disputed. During the work 
 I came in contact with men of influence and 
 importance in the Conservative party, including 
 the late Lord Winmarleigh, Colonel Stanley — 
 then War Secretary, now Earl of Derby — and 
 Viscount Cross. Lord Winmarleigh (originally 
 Colonel Wilson Patten) was one of the hand- 
 somest men I ever met ; he was, moreover, 
 a perfect type of an English gentleman ; he 
 
Professional, Artistic, and Theatrical. iii 
 
 was a highly-cultured man, whose society was 
 delightful and whose social qualities had a 
 peculiar fascination for those with whom he 
 came in contact. The new Clubhouse was 
 opened with a flourish of Conservative trumpets, 
 by Viscount Cross, in October, 1876. The late 
 Thomas Hornby Birley occupied the chair, 
 and honoured the architect by proposing his 
 health in a graceful and flattering manner. My 
 professional connection with the Club ended 
 with the opening banquet, but I was fortunate 
 in making friendships which have been pleasant, 
 both socially and professionally. 
 
 Passing over the alterations still going on at 
 various intervals since i86g at the Prince's 
 Theatre, Manchester, the building of Alston 
 Hall, near Preston, for my friend, the late John 
 Mercer, I arrive at the springtime of 1878, 
 when I made a tour, with two dear friends, 
 through North and Central Italy. This tour 
 was an experience of excitement and artistic 
 delight ; and a sort of experience that one 
 desires to write a book about ; but I only allude 
 to it in these pages in order that I may record 
 an interesting friendship I made in Rome. 
 
 I was engaged on a large water-colour drawing 
 of a foreshortened view of the Arch of Constan- 
 tine ; I had noticed a gentleman wearing a large 
 sombrero, casting inquisitive looks at me. At 
 •length, much to my astonishment, he addressed 
 
112 An Architect's Experiences: 
 
 me by name. He explained that he came to 
 this knowledge through a friend in England, who 
 wrote him to look out for me and make, my 
 acquaintance. My new friend was the late John 
 Warrington Wood, the sculptor. Thus originated 
 a most pleasant friendship, which was closed, 
 alas ! too soon by the inexorable hand of death. 
 My visit to the Villa Campana on the Lateran 
 Hill was one of those unique episodes which 
 appear as bright spots in the dark vista of the 
 past. Wood had married a lady of wealth and 
 good family ; the beautiful villa was purchased 
 together with its fine studio and great hall for 
 the exhibition of statuary. Here was lived a 
 life of artistic pleasure and high culture. The 
 gardens of the Villa were full of interest to the 
 antiquary, and it was here I first entered a 
 " Columbarium " which had been the receptacle 
 of the ashes of the aristocratic family, the former 
 owners of the Villa Campana. A stroll through 
 the Sculpture Hall, where stood the " Sisters of 
 Bethany," the " Elijah," " The Little Maid," 
 and other well-known works, brought us into ,the 
 Organ Chamber. Wood was passionately fond 
 of the organ, and played the instrument like a 
 master. At sunset we adjourned to the dining- 
 room, and through its open windows we saw the 
 towers and turrets of the Imperial City against 
 a golden evening sky. Leaving long after mid- 
 night, I drove to the Via Condotti. That drive 
 
Professional, Artistic, and Theatrical. 113 
 
 I shall never forget. The moon was clear in the 
 heavens, and sent its silvery streams through 
 the arches and colonnades of the great Flavian 
 amphitheatre, lighting up the arena, till one could 
 fancy the phantom forms of slaughtered Christians 
 were floating over the scene of their martyrdom. 
 It was just one of those fascinating moments 
 when one becomes spellbound. The only way I 
 could be made to emerge from dreamland was by 
 a threat of the malaria from the prosaic driver. 
 At a rapid rate we traversed the Via Sacra, 
 across the Forum — then silent as the grave — 
 along the Corso, through the Via Condotti to 
 the Hotel Dallemagni. 
 
 My visit to the Villa Campana was to me a 
 remarkable event. I was enabled to get a glance, 
 as it were, into the cultured and artistic circles 
 of Rome. Wood was at the height of his fame, 
 and in perfect health. Although I saw much of 
 him afterwards in England, he never seemed the 
 bright happy man he was at the Villa Campana. 
 His native town of Warrington, in Lancashire, 
 from whence have sprung so many men who 
 adorn the world of art, now holds in its public 
 cemetery the remains of John Wood. He was 
 laid to rest in the presence of a great concourse 
 of people ; and his old friend, Sir Andrew Barclay 
 Walker, was, if I remember rightly, one of the 
 pall-bearers. It is not necessary, perhaps, to 
 remind my readers that Sir Andrew presented 
 
 J 
 
114 ^^ Architect's Experiences: 
 
 to the Cit)' of Liverpool the Art Gallery which 
 bears his name. I may, however, note the fact 
 that the three colossal pieces of sculpture which 
 adorn the fagade are the last works of John 
 Warrington Wood. 
 
Professional, Artistic, and Theatrical. 115 
 
 CHAPTER XIII. 
 
 OOON after taking over the lease of the 
 "^ Lyceum Theatre, London, from Mrs. 
 Bateman, the widow of the " Colonel,'' Sir 
 Henry' Irving gave a dinner to his Manchester 
 friends at the Queen's Hotel. This event took 
 place on the 13th of October, 1878. On this 
 occasion. Sir Henry expressed a wish that I 
 would take charge of the Theatre, with a view 
 to extensive alterations, repairs, and decorations. 
 I examined the property, and submitted a 
 scheme for the work on the 19th of October, in 
 Manchester, where Sir Henry and his Company 
 were fulfilling an engagement at the Theatre 
 Royal. The scheme was embodied in a set of 
 drawings, and by the 4th of November the work 
 was well in hand. On the last day of the 
 month Sir Henry travelled to London, inspected 
 the progress of the works on the first day of 
 December ; finally settled on various details, and 
 rehearsed the scenery for the production of 
 " Hamlet." The Theatre opened on the 28th 
 of December, under his own management, and 
 before an audience which represented the high 
 
ii6 An Architect's Experiences: 
 
 life and the highest culture of London. At that 
 time such an assemblage was a unique event 
 in the history of play-going; now it is an 
 •established fact, and is looked forward to as a 
 matter of course on first nights. 
 
 My connection with the Lyceum brought 
 me into contact with many interesting and 
 remarkable persons, and resulted in social events 
 which are still to me pleasant memories. During 
 the carrying out of the alterations I had frequent 
 visits from the venerable Walter Lacy, who had 
 closed a remarkable stage career. At the time 
 I am writing of he was hale and hearty, and 
 delighted me with a continuous stream of 
 anecdote. I recollect on one occasion, my 
 attention was called by the workmen to the 
 ceiling of the auditorium ; which was being 
 stripped and cleaned, preparatory to the nev^ 
 decoration. The process had revealed a scheme 
 of ornament in imitation of lace work on a pink- 
 coloured ground. On showing a piece of this to 
 the old actor, he exclaimed, " That is a portion 
 of the work that was done to please Madame 
 Vestris ! Why ! my boy, the whole place was 
 hung with imitation lace ; it was a fairy-like 
 oriental ecstasy !— the figure groups and raised 
 ornaments were modelled by Bartolozzi, madame's 
 father." I have not been able to reconcile this 
 statement with fact. The present Lyceum 
 Theatre was opened by Arnold, as the English 
 
Professional, Artistic, and Theatrical. 117 
 
 Opera House, in 1834; Bartolozzi died in 1818, 
 and his son in 1821. There seems to be a 
 difference of opinion as to which of these men 
 was the father of the celebrated actress. She 
 was, in my opinion, the daughter of the second 
 Bartolozzi, and the ornaments in relief here 
 alluded to, were copies of the choicest mezzotint 
 gems by the great engraver, and may have 
 formed part of the scheme of Beasley, the 
 architect, as a compliment to his talented and 
 accomplished grand-daughter. These historic 
 " relievi " have been swept away, and copies of 
 Rafaelesque panels in colour occupy their place 
 on the circle fronts. 
 
 During the progress of the work at the Lyceum, 
 the Baroness Burdett-Coutts lost her life-long 
 friend, Mrs. Brown. I recollect Irving coming 
 into the Theatre one evening and telling me he 
 had attended the funeral. The Baroness and 
 her friend had contracted an intimate friendship 
 with Irving, and they highly appreciated his 
 genius. As a matter of course, the Baroness 
 took a great interest in the Lyceum venture, 
 but it was some weeks after the production of 
 " Hamlet" that she paid a visit to the Theatre 
 in order to see what had been done at the house 
 under the auspices of the new manager. I had 
 received carte-blanche instructions to make her 
 Ladyship's private box a work of art ; and to 
 fit up Ellen Terry's dressing-room in a manner 
 
ii8 An Architect's Experiences: 
 
 which should be in accordance with the artistic 
 temperament of its gifted occupant. I need hardly 
 observe that this work — as Falstafif would say — 
 "jumped with my humour." I iilled the panels 
 in the box with heraldic devices, and mono- 
 grams full of personal interest ; the ceiling was 
 hand-painted, and the hangings were of torquoise 
 silk with heavy gold-coloured trimmings. On the 
 1 2th of February the Baroness, accompanied by 
 a party of friends, including the late Sir Edmund 
 Henderson — then chief of police — and Lady 
 Henderson, visited the Theatre. When in her 
 box it was evident that she was much pleased, 
 and touched by the decorative allusions. This 
 incident was the means of my having professional 
 relationship with the Baroness, to which I look 
 back with pleasurable recollections. This was 
 one of those episodes in an architect's careei^ 
 which compensate for the utilitarian and com- 
 mercial side of his practice ; and by which he 
 pleasantly realises the fact that his profession is 
 regarded as an art, and that he is entitled to 
 the respect of cultured people. 
 
 Shortly after the incident just related, I was 
 instructed by the Baroness to examine her charm- 
 ing Highgate residence, " Holly Lodge," with a 
 view to additions and alterations. Accompanied 
 by Irving, I made a careful inspection of the 
 house and grounds. Sir Henry at this period 
 was a frequent visitor at " Holly Lodge," and 
 
Professional, Artistic, and Theatrical. 119 
 
 he was well acquainted with the house and its 
 contents. We examined the "old masters" on 
 the, walls, the quaint china cabinets, the 
 engravings, including a beautiful portrait of 
 Harriet Mellon, who, after the death of Mr, 
 Coutts, became the Duchess of St. Albans, and 
 from whom came the immense wealth which has 
 been used with such splendid results for the good 
 and welfare of humanity. We strolled through 
 the long conservatory — erected when the King of 
 the Belgians was entertained — into the beautiful 
 grounds, richly studded with venerable trees and 
 groups of foliage springing from velvet-looking 
 lawns, parallel with the slope of Highgate Hill. 
 ^' Holly Lodge" is a secluded paradise in close 
 proximity to the busiest and greatest city of the 
 world. In this retired spot, visited by so many 
 men and women renowned in Statecraft, Art, 
 Literature, and the Church, I spent many days 
 in preparing my scheme, which was ultimately 
 submitted to the Baroness at her Stratton Street 
 residence in Piccadilly. 
 
 At this period I had the opportunity of meet- 
 ing many pleasant and interesting people at the 
 Stratton Street house. It was here that I first 
 met the late W. H. Wills, formerly assistant 
 editor to Charles Dickens for Household Words; 
 he discharged his literary duties for over 20 years, 
 and remained one of the most intimate friends of 
 his great chief. He was in personal appearance 
 
1.20 An Architect's Experiences: 
 
 a tall, rather thin, man, and reminded one of the 
 healthy English fox-hunting gentleman immor- 
 talised by John Leech in his Punch pictures. 
 Indeed, he was fond of hunting ; I recollect he 
 once said to me he soon tired of London life, 
 and longed for the season when he could enjoy 
 his favourite sport. Wills was one of the earliest 
 contributors to Punch; he also was the editor 
 for a time of Chambers's Joiirnal, and whilst in 
 Edinburgh married the sister of Robert Chambers. 
 This lady was remarkable for smart and witty 
 sayings: she it was who said, "The ladies who 
 agitate for women's rights are generally men's 
 lefts." 
 
 At Stratton Street I became acquainted with 
 the late Edwin Long, R.A. He had painted a 
 seated portrait of Mrs. Brown, the lady I have 
 alluded to as the intimate friend of the Baroness. 
 The portrait was exhibited at the Royal Academy 
 in 1879. At this period Long enjoyed a high 
 reputation, and his works were exceedingly 
 popular. During this visit to Stratton Street, I 
 accompanied the Baroness to the Academy to 
 see this portrait, and also a bust of Irving by 
 a sculptor whose name I have forgotten. I 
 recollect the latter work was not satsfactory, and 
 was criticised rather severely ; indeed, I believe 
 we thought that no artist was clever enough to 
 do justice to the head and features of our friend. 
 Long, however, painted Irving as Richard III. 
 
Professional, Artistic, and Theatrical. 121 
 
 in a satisfactory manner. This work was hung 
 in the centre of the wall of the Piccadilly 
 entrance-hall. The same painter also painted 
 the same actor as " Hamlet " ; this is well 
 known by the admirable engraving which has 
 perpetuated the handsome poetic-looking face of 
 the melancholy Prince of Denmark. This visit 
 to the Academy was to me an interesting event, 
 and I thoroughly enjoyed those few hours of 
 converse with the lady whose name is a house- 
 hold word in England. It has been said that 
 she is "a personage that occupies a position 
 unique ; one who is deservedly respected and 
 honoured by all classes ; to whom individuals 
 and bodies of people have turned for sympathy 
 and help, and in whose hearts is built a 
 monument of gratitude, such as surely has 
 seldom been accorded to any human being. 
 Such is the truly noble woman who has been 
 for upwards of half a century the pioneer of the 
 majority of benevolent movements, and the ready 
 helper of the helpless." So wrote Mary Spencer 
 Warren ; it is a truthful record of the virtues 
 and philanthropy of the Baroness Burdett-Coutts. 
 The Baroness felt a keen interest in the Stage, 
 and was naturally anxious about the new 
 venture at the Lyceum. Her immense wealth 
 came from the beautiful and gifted Harriet 
 Mellon ; Julian Young, the clergyman son of the 
 great actor and gentleman, Charles Mayne 
 
122 Ati Architect's Experiences: 
 
 Young:, died in her arms when on a visit to her 
 house. It could not therefore be a matter of 
 surprise that the genius and- strong personaUty 
 of Sir Henry Irving caused her Ladyship to 
 take an intense interest in the career on which 
 he had just entered, as responsible lessee of the 
 Lyceum. I recollect that the boldness and 
 completeness with which the new lessee inaugu- 
 rated his regime somewhat startled the Baroness, 
 but knowing much of the managerial programme 
 I was enabled to explain the modus operandi, and 
 to prophesy a successful result. What the result 
 has been is a matter of history : it has far 
 exceeded the sanguine hopes we indulged in 
 1879, and is unique in the annals of the Stage. 
 I shall have more to say about this success 
 when I come to speak of my experiences in 
 connection with the Theatre. 
 
 During the run of " Hamlet" at the Lyceum, 
 I made the acquaintance of the late Dante 
 Gabriel Rossetti. Of his early life and work I 
 had learnt much from Ford Madox-Brown, who 
 directed his first efforts in painting. This 
 information was imparted during the early years 
 of Brown's great mural work in the Manchester 
 Town Hall. As Brown worked, he loved to talk 
 of the early painting and poetry of the youth 
 who formed one of that historic trio, known as 
 the Pre-Raphaelite Brotherhood. Although I 
 was familiar with Rossetti's poetry and with 
 
Professional, Artistic, and Theatrical. 123 
 
 most of his painting, I had formed an entirely 
 erroneous idea of the man, as he appeared in 
 the summer of 1879. I expected to find him as 
 I knew him by the drawing of his illustrious 
 confrere, Holman Hunt, thin-faced, with piercing 
 eyes looking from beneath well-developed eye- 
 brows ; in fact, a sort of ascetic who would 
 resent the intrusion of the outside world within 
 the seclusion of Cheyne Walk, Chelsea. 
 
 As I walked to the door of the now historic 
 No. 16, I wondered how I should get along with 
 the man, whose character and physique I had 
 imagined on the severe lines I have indicated. 
 The first astonishment I experienced arose from 
 the fact that I was told to proceed to the studio, 
 which I supposed was a sort of sanctum sanctissima, 
 I had never hoped to enter. My second sur- 
 prise was the man himself. I was received by 
 a good-humoured, rather stout gentleman with 
 moustache, and short imperial beard ; a broad 
 expansive forehead, a tendency to baldness, and 
 the whole face bearing a look of welcome. 
 Rossetti was at work on a picture, the figures 
 of which were laid in with a sort of ultramarine 
 blue. I think this blue colour formed a sort of 
 sympathetic link between us. Our mutual friend, 
 Mr. W. A. Turner, possessed a small circular 
 picture of Rossetti's which I had christened "The 
 Lady with the Rosebud." This charming work 
 suddenly showed signs of decay; the orange 
 
124 ^^ Architect's Experiences: 
 
 tones of the flesh colour were eaten away by the 
 chemical properties of this blue colour. Rossetti 
 remembered that at one time he had the mis- 
 fortune to use some of this pigment, which was 
 discovered afterwards to be imperfect and impure ; 
 and hence the disastrous result to "The Lady 
 with the Rosebud." The artist repaired the 
 damage for our friend with a hearty goodwill. 
 
 At this time the break-up of Rossetti's health 
 was at hand, although the end did not come till 
 1882. I gathered from him that he had little 
 desire to see the world outside Cheyne Walk. 
 I had promised Irving I would try to persuade 
 the painter-poet to see Ellen Terry as Ophelia, 
 and I used every argument I could think of with 
 this end in view. I described the poetic and pic- 
 turesque beauty of this wonderful Shakespearian 
 creation. I described some of the most beautiful 
 and touching scenes as rendered by Ellen Terry, 
 especially that triumphant episode where the gifts 
 are handed back, and wherein Irving tried to 
 renounce his intense love for Ophelia. I say tried 
 — for it was evident that when he finally left her, 
 he did so with a broken heart, and with the 
 " love of forty thousand brothers " strong within 
 him. This was a supreme moment at the 
 Lyceum, and Rossetti caught some of my enthu- 
 siasm, for, hurriedly opening a drawer, and hand- 
 ing me a photograph, he said : " Is that anything 
 like the situation ? " I did not know that he had 
 
Professional, Artistic, and Theatrical. 125 
 
 ever dealt with this subject, and this particular 
 scene ; but there it was in all its agony and 
 passionate woe, with scenic adjuncts that the 
 poetic brain of the painter could alone devise. 
 This photograph from his original drawing came 
 to me shortly afterwards signed by its author, 
 and remains as a pleasant reminder of my first 
 visit to Cheyne Walk. 
 
 I sometimes think that I was instrumental in 
 persuading Rossetti to complete his chef-d' ceuvre 
 the famous " Dante's Dream," now in the Walker 
 Art Gallery, Liverpool. Mr. F. G. Stephens, 
 one of the original band of Pre-Raphaelites, says 
 in his monologue on Rossetti that this picture, 
 " begun in i86g, continued to be a sort of heroic 
 white elephant, remaining chiefly in the painter's 
 studio till 1881." W. M. Rossetti, in the life of 
 his brother, has told the history of this great 
 work, and curiously enough I came across it at 
 the period in 1879 when it was a white elephant, 
 covered with dust behind a lot of canvases in 
 the studio at Cheyne Walk. I was ignorant of 
 its existence, and when Rossetti allowed me to 
 detach it from the artistic lumber around it, I 
 was so impressed that for a time the power of 
 speech seemed to forsake me. I cannot recall 
 all that happened, but the rest of the day was 
 devoted to discussing the picture and its beautiful 
 theme. One interesting item of information I 
 learned from the painter was, that the figure of 
 
126 An Architect's Experiences: 
 
 Love was painted from the now famous and 
 talented actor, Forbes Robertson. I pleaded 
 enthusiastically for the completion of this great 
 work ; whether my arguments produced the desired 
 result I know not. As all lovers of art know, 
 the picture was finished, and will ever remain 
 as Rossetti's monumental work. 
 
 One of the most congenial literary tasks I ever 
 attempted was to explain this picture after its 
 location in the Liverpool Gallery, to the Man- 
 chester public, through the columns of the 
 Courier newspaper. When this notice was read 
 to Rossetti he was declining rapidly. Shields 
 wrote me at the end of October, 1881, that this 
 newspaper article was a source of pleasure and 
 satisfaction to the painter. As it was intended 
 to be a record of a great work, I will here repro- 
 duce it as a small tribute to the memory of the 
 great poet-painter : — 
 
 The public exhibition of a picture by Dante Gabriel Rossetti 
 is such a rare event, and one of such importance in the world of 
 art, that it seems desirable to give our readers some idea of the 
 picture now in the Walker Art Gallery, Liverpool, representing 
 Dante's dream on the day of the death of Beatrice. Here let us 
 remark, that in this work the poet-artist has evidently determined 
 to go beyond the expression of a poetic thought, by means of a 
 single figure, with simple accessories, and grand colour; and in 
 this canvas we have a combination of those qualities which are 
 essential to the highest and noblest art. The picture is the painter's 
 masterpiece, embodying his reverence for the immortal Florentine, 
 as well as illustrating that method of artistic expression which 
 Rossetti has adopted, and in which he has no rival itj modern 
 art.' This artist, in his painting, as in his exquisite poetry. 
 
Professional, Artistic, and Theatrical. 127 
 
 appeals to refined and cultured intellects ; he does not cater 
 for the thoughtless and ignorant, but he conscientiously and con- 
 sistently endeavours to rouse interest in, and beget a spirit of 
 understanding of Italian poetry, and of its greatest and noblest 
 exponent. In the picture now under consideration, we have a 
 concentration and accentuation, so to speak, of those thoughts 
 and emotions which made up the love of Dante for the beautiful 
 Beatrice Portinari. Whether under Dante's ideal love there 
 lurked any real or simple human passion is not a question we 
 need now discuss ; but certainly the platonic and reverential love 
 of which he tells us, and of which he has so exquisitely sung in 
 " La Vita Nuova," is one of the most beautiful things in the whole 
 range of poetic thought. This is the love which Rossetti has 
 treated, and which he has expressed through form and colour in 
 " Dante's Dream." In order to thoroughly comprehend the scene 
 depicted, it is necessary to bear in mind some few antecedent 
 facts and incidents. The poet's love for Beatrice had grown and 
 intensified from the period of their first meeting, when both were 
 children of about nine years of age, and although Dante had 
 cherished this love without any outward expression to the fair 
 lady whose very name indicates blessings to mankind, there can 
 be no doubt that her marriage was a great disappointment, and 
 that her death in lovely womanhood was a source of intense grief. 
 It is this culminating point in their respective lives that the painter 
 presents before us through the medium of pictorial art. Dante's 
 dream was the result of great bodily weakness and infirmity ; and 
 he says in the sonnet: — 
 
 I was 'ware of one, hoarse and tired out. 
 Who asked of me, "Hast thou not heard it said, 
 Thy lady, she that was so fair, is dead ? " 
 
 Then follows the raison d'etre of the picture, which Rossetti has so 
 beautifully translated, and which we cannot refrain from quoting: — 
 
 Then lifting up mine eyes, as the tears came, 
 I saw the angels like a rain of manna. 
 In a long flight flying back Heavenward, 
 Having a little cloud in front of them ; 
 After which they went and said "Hosanna!" 
 And if they had said more you should have heard. 
 
128 An Architect's Experiences: 
 
 Then Love said, " Now shall all things be made clear, 
 
 Come and behold our lady where she lies." 
 
 These 'wildering phantasies 
 
 Then carried me to see my lady dead. 
 
 Even as I there was led, 
 
 Her ladies with a veil were covering her; 
 
 And with her was such very humbleness, 
 
 That she appeared to say " I am at peace." 
 
 This sonnet really embodies the whole scene as depicted by the 
 artist. Beatrice lies in a sort of alcove, attended by her two 
 maidens, who have lifted the veil, covered with mayblossom, 
 suggestive of the spring-time and beauty of life, in order that the 
 dreaming lover may see his fair mistress as she has fallen back 
 in death. Love, spoken of in the sonnet, is represented by a 
 youth with red garment and crimson wings, leading Dante by the 
 hand into the chamber of dreams. Love bends over the beautiful 
 form, and, whilst kissing the fair, marble lips, still maintains the 
 poetic connecting link between the living and the dead in the 
 strong hold he keeps on the hand of the dreamer, whilst with the 
 other hand he points backward with his arrow at the lover's heart. 
 Over the whole group flickers a lamp almost burnt out, and through 
 the opening in the roof are seen a multitude of the Heavenly Host 
 bearing away the soul of the beatified one ; bells are tolling for the 
 dead, the floor is strewn with poppies (fit emblems of the sleep of 
 death), and the scarlet doves of love flit about the chamber, thus 
 indicating that the whole scene is permeated with the passion of 
 the god they attend. On the left is a view of a staircase coming 
 from below, whilst on the right is another staircase leading upward 
 into a beautiful sunlight. These staircases are not only symbolic, 
 but they indicate the peculiar geographical character of the City 
 of the Lilies, and carry the mind to beautiful villas on those fair 
 hills which environed the home of Cimabue, Giotto, and Dante. 
 As if to put the coping-stone on the poetry of this dream-chamber, 
 the artist has suspended from the roof a scroll bearing the first 
 words of that wail from the Lamentations of Jeremiah, quoted by 
 Dante himself: " Quonwdo sedet sola civiias plena populo,'' etc. — 
 " How doth the city sit solitary that was full of people ! how is 
 she become as a widow, she that was great among the nations ! " 
 This, no doubt, conveyed to the poet's mind a true sense of 
 
Professional, Artistic, and Theatrical. 129 
 
 what was the state of Florence at the loss of the beautiful 
 Beatrice. 
 
 To the artist this picture presents many features of the greatest 
 interest, and in the treatment and general arrangement of the 
 subject he will find much reason for satisfaction. The conception 
 of the central group is very original, and the diagonal lines formed 
 by the figure and wings of Love counteract and break the neces- 
 sarily horizontal character of the accessories to the figures in a 
 manner that wins our admiration and surprise. The figure of 
 Dante is the piece de resistance of the whole composition, and 
 reaches a grandeur seldom seen in modern art. He is habited in 
 rich purple-black robes, his head covered with the familiar peaked 
 hood, and in his dream he regards with a fixed but conscious look 
 the face of the dead. There is a kind of timidity about advancing 
 nearer, which is finely expressed in the half-raised foot, and in the 
 dragging or straining effort shown in the nmscular attitude of the 
 red-robed figure of Love. This is the handsome and youthful 
 Dante of the pure Florentine type, with but slight indication on 
 his dark complexion of those deep lines of care and thought which 
 came afterwards when years of exile and wandering from that fair 
 city had blighted the heart of her illustrious son, and sent him to 
 die in the arms of those who reverenced him in Ravenna. The 
 recumbent figure of Beatrice, as she lies with hands crossed on her 
 breast, and heedless now of Love's kiss, is a beautiful piece of 
 artistic expression. The work in this picture is of that loving and 
 conscientious kind, which neglects nothing, and which leaves no 
 stone unturned that may assist in the elaboration and completion 
 of a grand ideal. As an instance of this we may note the diaper 
 of roses and lilies which is worked over the constructive parts of 
 the alcove. The roses are enclosed in circles, from which issue 
 small jets of flame, whilst the lilies are encircled with the stars 
 of Heaven. The scheme of colour is as rich as that of the best 
 Italian masters. It is full and deep and worthy of the finest 
 religious art of bygone days. 
 
 We cannot but think that this great picture rightly understood 
 will have influence for good, in spite of those who fail to compre- 
 hend the principles upon which such art is based, and ignore the 
 teachings it seeks to convey. We know it is the fashion in some 
 quarters to stigmatise Mr. Rossetti's painting as an effort to 
 
 K 
 
130 An Architect's Experiences: 
 
 ■ -galvanise into life a dead art, and his poetry as the reflex of an 
 obsolete philosophy. If Rossetti's art was only imitative and 
 realistic, there would be some ground for such reasoning, but it 
 goes beyond mere imitation. It conveys to the mind an exposition 
 of great truths, and attempts to display some mysteries, just as was 
 •done by the art of those great Italians of the thirteenth century. 
 With Rossetti's poetry we have nothing to do here; but love is a 
 passion that developed very early on in human history, and the 
 immortality of the soul is a doctrine not promulgated yesterday. 
 We therefore honour the artist who tells us of these things through 
 that Dantesque medium he loves so well, and we congratulate the 
 Corporation of Liverpool on the possession of such a grand picture 
 *is the " Somnium Dantis in Extremi Beatricis Hor4." 
 
 It was in the year 1879 that I commenced 
 the extensive additions to " Barlow Fold," 
 Poynton, Cheshire, for my friend, the late 
 W. A. Turner. This house, beautifully situated 
 in undulating and well-wooded grounds, was 
 completed for habitation in 1880. I allude to 
 this professional work here, because the house 
 was destined to become the receptacle of many 
 fine pictures by Rossetti. Here hung the grand 
 work entitled " The Vision of Frametta," for 
 which the painter-poet wrote a beautiful sonnet, 
 the well-known " Proserpina," the " Water 
 Willow," "La Jolie Coeur," "The Lady with 
 the Rosebud," and a large red chalk study for 
 "Washing Hands." The "Barlow Fold" collec- 
 tion also contained fine examples in oil and 
 water colour by Sir E. Burne-Jones; "Night" and 
 "Morning" and "Rispeh" by Spencer Stanhope, 
 and representative works by J. D. Watson, Fred 
 Walker, Boyce, and Sir John Gilbert. 
 
Professional, Artistic, and Theatrical. 131 
 
 Mr. Turner, who had taken with others — 
 including Charles J. Pooley — a keen interest in 
 the transfer of the Royal Institution to the 
 Corporation of Manchester, and who ultimately 
 became Chairman of the Art Gallery Committee, 
 had much pleasant intercourse with artists of 
 repute. At "Barlow Fold" it was my good for- 
 tune to meet E. J. Gregory, A.R.A., Phil Morris, 
 A.R.A., Colin Hunter, A.R.A. ; here also came 
 AUingham, the poet, and his clever artist-wife. 
 Receptions were held here in honour of Sir 
 Henry Irving, and other celebrated members of 
 the histrionic profession. " Barlow Fold " was, 
 in the lifetime of Mr. Turner, a centre of culture 
 and artistic pleasure. Alas ! the treasures are 
 dispersed — Rossetti has gone to his long rest ; 
 No. 16, Cheyne Walk, Chelsea, has lost its 
 charm, and the last I saw of it was in July, 
 1882, when the ruthless hammer of the auctioneer 
 was scattering its treasures to the outside world. 
 
 It is a source of satisfaction to me to know 
 that many of the pictures that I have been in 
 some way associated with have found a place in 
 the beautiful home of my relative, Mr. Samuel 
 Bancroft, junr., at Wilmington, in Delaware, 
 'U.S.A. Mr. Bancroft's collection is unique in 
 his country. It not only contains grand examples 
 of Rossetti's art, but also representative works 
 by Sir E. Burne-Jones, Madox-Brown, Fairfax 
 Murray, and other English painters of repute. 
 
 
132 An Architect's Experiences: 
 
 CHAPTER XIV. 
 
 T HAVE had in the course of my practice 
 -*- to do some curious things, some of which 
 I shall allude to in the course of this narrative. 
 I have had to design almost everything that can 
 possibly come in between a palace and a pig-sty, 
 as far as bricks and mortar are concerned. In 
 art work, ladies' dresses, toy towns for bazaars, 
 theatrical scenery, furniture, placards, book plates^i 
 menu cards, and monograms have had a con- 
 siderable amount of attention. The mention of 
 menu cards brings to mind an interesting event. 
 On January 30th, 1880, Henry Patteson, Mayor of 
 Manchester, gave a grand banquet at the Town 
 Hall, for which I designed the menu card. 
 I was a guest on this occasion, and met some 
 noteworthy personages, including Lord Coleridge, 
 Justice Hawkins, the late Lord Derby, the 
 Right Hon. John Bright, and the best Bishop 
 of the century, James Eraser. What speeches 
 we listened to ! We had a polished, thoughtful 
 
'^V'vVv \ 
 
 Professional, Artistic, and Theatrical. 133 
 
 address from the Lord Chief Justice ; a soUd, 
 statesmanHke speech, deUvered in a nervous, 
 jerky kind of way, from Lord Derby ; and, I 
 believe, the last time the full, rich tones and 
 Saxon English of John Bright were heard in 
 Manchester was on this memorable occasion. 
 The statue in white marble, by my friend Bruce- 
 Joy, of the People's Tribune now looks upon the 
 building wherein this banquet was held, and 
 perhaps my architectural menu card may have 
 found a place amongst the City Archives. 
 
 During the month of July, in 1880, I was at 
 Lincoln Cathedral, engaged in completing some 
 pictures I had commenced on a former visit, 
 when I heard of the death of my friend Tom 
 Taylor. The funeral took place on the i6th of 
 the month, and, curiously enough, on that occa- 
 sion I made the acquaintance of another of the 
 three original Pre-Raphaelite Brethren — Sir John 
 Everett Millais, the late President of the Royal 
 Academy. I had some correspondence with him 
 in i86g ; on this sad occasion we stood together 
 in the Brompton Chapel, and at the grave side. 
 That was a remarkable assemblage by the grave 
 of our late friend. Artists, authors, actors and 
 actresses, and the Punch staff gathered to pay 
 their last tribute of respect to their late chief. 
 Many an artist and many actors lost a good 
 friend and discriminating critic when the art 
 critic, dramatic author, and editor of Punch was 
 
134 -^'^ Architect's Experiences: 
 
 laid to rest in the Brompton Cemetery. I 
 turned my face towards Lincoln again, feeling 
 that I had lost a friend, and the world a highly 
 gifted literary man. 
 
 Referring to Lincoln once more. It was here 
 that I met a young man since famous in the 
 world of Art. During my studies at the Ca- 
 thedral I observed a young and enthusiastic 
 member of the Lincoln School of Art carefully 
 drawing and painting the elaborate choir stalls. 
 An incident occurred which suggested to the 
 youth an idea for a subject-picture. He finished 
 and sent it to the Royal Academy. The pic- 
 ture was called " His Last Vespers." That 
 artist was William Logsdail, now a brilliant 
 painter, and one of whom the English School 
 is justly proud. 
 
 Grand old Lincoln Cathedral ! To the student * 
 of architecture and to the painter of architecture 
 it offers opportunities not to be found in any 
 other example of English Gothic architectural 
 art. In some features it is unique. Qne of the 
 finest poems ever written in stone is the Lady 
 Chapel, which forms the east end. In" this 
 wonderful chapel are worked, in the spandrils 
 between the triforium arches, figures of angels, 
 each with a musical instrument of different de- 
 sign, but all sending forth one great hymn of 
 praise ; hence the poetic name given to this 
 architectural gem — " The Angels' Choir." The 
 
Professional, Artistic, and Theatrical. 135 
 
 effect produced on the mind by a contemplation 
 of this beautiful work is very satisfying and very 
 pleasing. It is always pleasant to look upon 
 beauty, either in nature or in art. I have sat 
 for days in this lovely choir ; the morning sun 
 has streamed in through the painted glass of 
 the east window, lighting, as it moved along, 
 columns, arches, angels, shrines, and tombs,, 
 decking them with rainbow colours. All around 
 lie the sleeping dead ; some beneath plain slabs, 
 others resting in effigy under the most exquisite 
 canopies. I have sat and worked, under the 
 spell of absolute stillness, through the twilight,' 
 till the shades of evening crept quietly and 
 silently over everything; and I have parted with 
 so much beauty with a sigh of regret, but 
 thanking heaven for the genius which gave it 
 being. 
 
 In the autumn of 1880 I made the acquain- 
 tance of a man who, I think, has described 
 himself — in the life of his brother — as the lite- 
 rary member of the Pre-Raphaelite Brotherhood. 
 I allude to William Michael Rossetti. Journey- 
 ing to Whaley Bridge to join some friends on 
 a driving tour through Derbyshire, we happened 
 to be railway-travelling companions. On arrival 
 at the station, I was surprised to find that my 
 fellow-traveller was known to my friends. We 
 drove to Chapel-en-le-Frith, where F'ord Madox- 
 Brown resided during some portion of the time 
 
136 An Architect's Experiences: 
 
 he was engaged on his great mural work at the 
 Manchester Town Hall. Here I met his daughter 
 Lucy, who had married W. M. Rossetti. In the 
 Life and Letters of Dante Gabriel Rossetti there 
 is a beautiful" portrait of this lady. On seeing 
 this I was reminded of the incident of my first 
 meeting with W. M. Rossetti and his charming 
 wife in the quaint, bleak Derbyshire village. At 
 that time I little thought that in after years I 
 should be entrusted with the re-building of the 
 chancel of its old Parish Church of St. Thomas- 
 a-Beckett, and that I should have to maintain 
 a professional position against amateur antiqua- 
 rian arrogance and dilletanti conceit. The com- 
 mittee entrusted with the work, however, stuck 
 to their architect, and the final result was highly 
 satisfactory. I never visited the village on the 
 edge of the Peak of Derbyshire without thinking * 
 of the clever people I first met there. Madox- 
 Brown lived to finish his work at Manchester, 
 but his latter days were clouded by the loss of 
 his wife, and by the rough treatment he received 
 at the hands of the Corporation. I last saw 
 him at the reception given on the first night of 
 the production of " King Lear" at the Lyceum 
 in 1892 : he looked ill and careworn. I recol- 
 lect our host, Sir Henry Irving, noted his ill 
 looks, and asked me to persuade him to take 
 some refreshment. He brightened up a little, 
 and we talked about his work at Manchester, 
 
Professional, Artistic, and Theatrical, 137 
 
 on which I had written a criticism, which he 
 thought should be repubhshed as a magazine 
 article. He told me that he had taken leave 
 of his magnum opus with regret, and that he 
 felt he should never enter the city again. Lucy 
 Madox- Brown has followed her father to the 
 Land of Shadows, but her husband, William 
 Michael Rossetti, has lived to close the litera- 
 ture of his distinguished family by a life of his 
 brother, and by editing the hitherto unpublished 
 poems of his gifted sister Christina. 
 
 Lives of distinguished architects have been 
 written, wherein their works have been described, 
 their art criticised, and their influence on the 
 architecture of their times fully set forth. I doubt, 
 however, whether the inner life, so to speak, of 
 architectural practice has ever been dealt with ; 
 perhaps it is as well that this should be kept 
 sacred and secret, for revelations could be made 
 which would be anything but edifying to the com- 
 munity at large. It is a popular idea that the 
 architect leads a pleasant, quiet life, free from 
 the tricks of trade and the fluctuations of the 
 money market ; that he goes into the best society, 
 and is generally looked upon as a gentleman. 
 This estimate of his position is fairly truthful up 
 to a certain point, but the public has no idea 
 of what the architect has to endure in order to 
 ■conduct his practice honestly and respectably. 
 Talk of the tricks of trade ! the architectural 
 
138 An Architect's Experiences: 
 
 profession is not above suspicion in this respect. 
 Much vexation has to be endured through the 
 operations of the black sheep of the profession, 
 owing to their influence on men, and bodies of 
 men, who have the distribution of public or 
 corporate architectural work. Could the public 
 see behind the scenes of an architect's office, 
 the dry bones of many a skeleton of his fancy 
 would be discovered ; in fact, a charnel-house of 
 disappointed hopes, of fruitless endeavour, and 
 dishonourable 1;reatment. Yes, verily ! my lords 
 and gentlemen and honourable "boards," say 
 what you will, many an architect's heart has 
 been metaphorically broken, and thousands of 
 pounds have been thrown away yearly, by the 
 unfair and partial way in which architectural 
 competitions have been adjudicated upon. In 
 many cases the result has been a foregone con- 
 clusion, and thfe pubHc appeal to the profession 
 has been a mere blind to create the idea of 
 independence and impartiality on the part of 
 those who offer the premiums. Yes! "my lords 
 and gentlemen, and honourable boards," you are 
 conscious of this condition of things, and you 
 know of the disappointment and money loss 
 entailed. Thank heaven ! there are honest 
 boards and honourable committees who treat 
 the profession fairly and with respect, or the 
 architect anxious for public work might close his 
 doors and sell his brass plate to the first broker 
 
Professional, Artistic, and Theatrical. 139 
 
 he meets, and inscribe over his portal: "All hope 
 abandon, ye who enter my profession." 
 
 The architect has, however, another source of 
 trouble in the dishonest individual chent ; and 
 he sometimes falls a victim to the clever and 
 speculative rogue. Although in the profession 
 "bad debts" are seldom made, the ruler does 
 occasionally go across the ledger, and amounts 
 are what is, I beheve, termed commercially, 
 " written off." Although I have been fortunate 
 in regard to, these monetary disasters, I am not 
 without some experience in such matters. In the 
 winter of 1880 (owing, I suppose, to the fact that 
 I had devoted much attention to theatre architec- 
 ture), I was summoned to London to meet a 
 certain Count from abroad. I was introduced by 
 men whose names need not be mentioned ; they 
 were personally known to me, and who evidently 
 believed in the Count. Our first conference was 
 held in a fine new hotel in London. I was 
 received in grand style in a large salon by the 
 Count, surrounded by capitalists and others 
 interested in matters theatrical. He was one of 
 the most interesting foreigners I ever met ; he 
 was handsome, in the prime of life, and spoke 
 fair English. He was courteous and dignified, 
 and saluted me with respect. 
 
 The scheme he had in view was a comprehen- 
 sive one. It embraced the purchase of land and 
 the erection thereon of three magnificent theatres 
 
140 An Architect's Experiences: 
 
 (on the plan of the Brussels " Eden" Theatre), 
 in London, Liverpool, and Manchester. What 
 an opportunity ! I thought both fortune and 
 reputation would be made, and I commenced 
 operations forthwith. I negotiated for a site on 
 the Thames Embankment, and for other sites 
 in the two great Cities of the North, and the 
 plans were made. In February, 1881, I placed 
 the scheme before an old acquaintance, John 
 HoUingshead. He was then in the full tide of 
 his career at the Gaiety. He was delighted, 
 and in his impulsive and decisive manner, said : 
 " We'll go to Brussels by this night's boat, and 
 I'll show you what alterations to make in the 
 'Eden' plan to suit metropolitan requirements; 
 and moreover, I'll lease the London 'Eden' from 
 the syndicate." 
 
 Sir Henry Irving in 1881 was most anxious to 
 see old Chatterton, of Drury Lane notoriety, 
 settled in some good way of theatrical business; 
 he was getting towards the end of his term 
 at Covent Garden. Chatterton had said that 
 Shakespeare spelt ruin to the theatrical manager, 
 and Sir Henry had just proved the fallacy of 
 the saying. The Lyceum manager, with his usual 
 kind heart, thought that the London " Eden " 
 Theatre offered an excellent opportunity for the 
 employment of the Old Drury Lane manager. 
 At Irving's request, I placed the matter before 
 Chatterton one evening at Covent Garden during 
 
Professional, Artistic, and Theatrical. 141 
 
 the bustle and excitement of a pantomime. He 
 swallowed the " Eden" bait, and insisted on 
 becoming lessee at any price. We all swallowed 
 that bait for something like nine months, when 
 the Count became ominously silent. I wrote — 
 no reply. Taking alarm, I sent in a necessarily 
 large account for professional charges. No notice 
 was taken of this document, and early in 1882 I 
 'received a despatch from Brussels informing me 
 that the Count had gone and left no address! So 
 ended the great scheme. Like Mark Tapley, I 
 endeavoured to look happy under my Eden expe- 
 riences. At all events, I had obtained a knowledge 
 of the most polished and polite " Chevalier de 
 V Industrie'' that ever came into the " strange 
 eventful history" of an architect's career. 
 
 I do not propose to let my readers into the 
 secrets of an architect's prison-house (his office), 
 although I could reveal some startling episodes 
 in connection with architectural practice. The 
 struggling architect is tempted to do all sorts 
 of queer things in order to gather a practice 
 together : he enters into competitions, and ulti- 
 mately retires from this line of work disappointed 
 and disgusted with unfair adjudication. There 
 seems to be no cure for this competition curse. 
 We may protest and attempt professional legis- 
 lation, but human nature is too powerful : men 
 will compete, and adjudication will often be 
 partial, unfair, and illogical. If architects of 
 
142 An Architect's Experiences: 
 
 repute would make a stand against the prac- 
 tice, there might be a chance of reform ; and 
 those who organise these competitions would be 
 driven to liberality and fairness in order to 
 secure the best talent in the profession. 
 
 Another curious thing a young architect is 
 tempted to do, is to take into his office pupils 
 whose parents and guardians pay premiums 
 which in many instances are thrown away, either 
 because the pupil has no aptitude for his work, 
 or because his master neglects him, and leaves 
 him to shift for himself, or to the kind sym- 
 pathy of some office assistant. By adopting 
 the plan of never allowing a pupil to be articled 
 without endeavouring to gauge his capacity, I 
 have been singularly fortunate in turning out 
 young men who have taken creditable and 
 honourable positions in life. In cases where 
 the artistic faculty has been strongly developed, 
 it has received proper encouragement. Ruskin 
 has said : " It is not necessary for an artist to 
 be an architect, but it is necessary for an archi- 
 tect to be an artist." I take some pride, 
 however, in the knowledge that some of my 
 pupils, who have attained high positions in the 
 world of art, have made good use of the archi- 
 tectural instruction they received. One of my 
 earliest pupils and assistants was the late J. 
 Moyr-Smith. Although he stuck manfully to 
 the " T square," it was evident that he pos- 
 
Professional, Artistic, and Theatrical. 143 
 
 sessed artistic faculties of a high order. The 
 development of these faculties was encouraged, 
 and, acting on my advice, he went to London. 
 If I remember rightly, he gained admission into 
 the office of the late Sir Gilbert Scott. Although 
 his experience in this office was principally con- 
 fined to a study of Gothic art, he had by 
 nature and inclination a Classic taste, which was 
 expressed to the world through the columns of 
 Punch. In that excellent " History of Punch,'" 
 by H. M. Spielmann, I note the following re- 
 marks: "Then came Mr. J. Moyr-Smith, whose 
 long series of clever mock-Etruscan drawings 
 continued with few breaks for the space of ten 
 years. Although the spirit that runs through 
 them becomes monotonous after a while, the 
 draughtsmanship and the excellence of the fool- 
 ing always elicit admiration. Mr. Smith had 
 served his time to architecture ; but natural 
 love of figure-drawing, intensified by the study 
 of Sir John Tenniel's comic illustrations of the 
 historical costume, faithfully and even learijedly 
 delineated and perfectly drawn, settled his career, 
 and Fun, under Tom Hood's editorship, wit- 
 nessed his start in humorous life." After culti- 
 vating a taste for Greek art, Mr. Smith published 
 a book on " Ancient Greek Female Costume," 
 a book which his old architectural master often 
 consults, and which he is proud to acknowledge as 
 a text-book on an interesting and learned subject. 
 
144 ^'* Architect's Experiences: 
 
 Another pupil who drifted into pictorial art 
 was W. G. Baxter, the creator of the immortal 
 "Ally Sloper." Like Smith, he made a desperate 
 effort to carry out the object of his " articles of 
 agreement," and like him failed. He had a facile 
 way of drawing the figure, and a keen sense o£ 
 the humorous side of human nature. He resided 
 at Buxton, where, in the season, he found all 
 sorts and conditions of subjects. After indulging 
 his fancy at Buxton, he devoted his whole atten- 
 tion to Momns, which was illustrated solely by 
 his pencil. When he left for London to develope 
 the "Ally Sloper" idea this periodical ceased. 
 It is now a scarce article in the book market, 
 and much prized by collectors. Baxter died 
 young : hard work told on a frail constitution ; 
 his career was short but brilliant. In the work 
 of these men may be noted that their knowledge , 
 of architecture proved of great value. Their 
 backgrounds containing architectural features were 
 drawn in with ease and rapidity, and I have 
 reason to know that they were not unthankful 
 for the little knowledge they obtained during the 
 short time they were under my care. 
 
Professional, Artistic, and Theatrical. 145 
 
 CHAPTER XV. 
 
 npHE year 1883 was a remarkable one to me, 
 -*- inasmuch as it brought me into contact 
 with cultured Irish men and women, and with a 
 delightful phase of Dublin Society. In the 
 spring of this year I received an invitation to 
 visit the Irish capital, from Mr. Andrew Jameson, 
 for the purpose of discussing some alterations 
 and additions to a house he had purchased in 
 Fitzwilliam Square. Mr. Jameson was then 
 located in a fine house, No. 5, Merrion Street, 
 and when I entered its hospitable portal I little 
 thought that I was to make one of the most 
 cherished friendships of my life, and to enter on 
 a course of professional work of great and varied 
 interest. 
 
 It is not an easy matter to write of men and 
 women, who, as Mary Anderson has said in her 
 memoirs, "still grace the world," but my record 
 would be incomplete without special allusions to 
 some members of the Jameson family. 
 
 During some portion of the time that the 
 works were proceeding in Fitzwilliam Square, I 
 
146 An Architect's Experiences: 
 
 paid frequent visits to the house in Merrion 
 Street. This is one of those fine Georgian 
 houses for which Dubhn architecture is famous ; 
 houses enriched by the art of Angehca Kaufmann, 
 and the brothers Adams. Houses containing fire- 
 places of exquisite classical design, and elaborated 
 with statuary marble sculpture by Italian artists. 
 What a change came over this refined art in the 
 later Georgian era ! Its beauty of design and its 
 purity of line disappeared. The rococo result 
 paved the way for the revival of Gothic art, and 
 the advent of Pre-Raphaelism. 
 
 I think it was whilst the decorations were 
 proceeding in the Fitzwilliam Square house that 
 I paid my first visit to Howth, where my friends 
 were housed in a typical Georgian villa. This 
 marine residence is the country home of Miss 
 Margaret Stokes, the well-known lady antiquary, 
 and authoress of several works of archaeological 
 importance and value. 
 
 I suppose everyone who has travelled in 
 Ireland has seen Howth, that great rocky 
 promontory which forms the northern boundary 
 of Dublin Bay. The steamers approaching 
 Kingstown pass it on the "starboard" side; at 
 night its proximity is indicated by the Bailey 
 Light, which throws its beams far out to sea. 
 
 On the occasion of my first visit to Howth, 
 I was received by my genial host, who conducted 
 me through the Royal Irish Yacht Club, and 
 
Professional, Artistic, and Theatrical. 147 
 
 placed me aboard his neat little craft, which was 
 to carry us across the Bay. We landed on the 
 western beach, under the shadow of overhanging 
 cliffs. On reaching the plateau I was struck by 
 the luxurious display of wild flowers, mosses, 
 and ferns. I detected in rich profusion the sea- 
 lavender, the milk-thistle, the blue-flowered iris, 
 the bog-pimpernel, with here and there fine tufts 
 of sea-spinach, which, I was informed, makes a 
 dish worthy the palate of a Lucullus. After a 
 little more climbing we reached the front of a 
 small but picturesque residence, backed by rich 
 masses of foliage. In front of the house is a 
 beautiful lawn, finishing in a belt of foliage, 
 beyond which a view is revealed such as is 
 rarely to be met with. The whole sweep of 
 Dublin Bay is before one, closed in by the 
 Wicklow hills, with the Sugar Loaf towering into 
 the twilight sky ; and the dark head of Bray 
 closes in the superb panorama of mountains. 
 
 The interior of this marine paradise is full of 
 poetic and artistic interest. After preparing for 
 dinner, I descended a quaint Georgian staircase 
 with winding steps converging to the two centres 
 of an ellipse ; a dangerous arrangement, requiring 
 considerable care on the part of a strange visitor. 
 I reached the drawing-room door in safety, but 
 to receive a surprise which well-nigh took away 
 my breath. Straight before me on the opposite 
 wall, in the dim summer twilight, stood the 
 
148 An Architect's Experiences: 
 
 "goddess of my idolatry," Helen Faucit as 
 Antigone. I hastened across the room expect- 
 ing to find a chromo-lithographic reproduction. 
 But no, nothing less than Sir Frederick Burton's 
 magnificent drawing. Yes, the same drawing 
 which hung in the centre of the long room at 
 the Art Treasures Exhibition of 1857. A crude 
 youngster then, the impression made upon me 
 by this work in those far-off days was so pro- 
 found that the sight of it in its island home, 
 " far from the madding crowd," afforded me 
 intense satisfaction. A genial Irish gentleman 
 who sat opposite me at dinner (who has, alas 1 
 since joined the majority, and who had a hard 
 time of it collecting his rents, with a carbine on 
 one side his desk and a revolver on the other) 
 informed me that there existed family ties between 
 the Martins of Dublin and the owner of the 
 drawing; and said he, "Sure I know the lady 
 who pinned on that blanket thing for Burton to 
 paint from." This remark referred to the Greek 
 XIT03V which was equivalent to the tunic of the 
 Romans. 
 
 Although I have in years gone by "greedily 
 devoured" the impersonations of Imogene, 
 Beatrice, Pauhne, lolanthe, and Rosalind, and 
 although it was my good fortune to stand side 
 by side with Lady Martin in 1879 when she 
 played the last bewitching heroine, in the sacred 
 cause of charity, I am conscious I have missed 
 
Professional, Artistic, and Theatrical. 149 
 
 a great thing in not having seen her as Antigone. 
 Truly the transcendent genius of Helen Faucit 
 is reflected in this picture by the happy inspira- 
 tion of a gifted painter. After a life of art and 
 goodness, Lady Martin may feel some satisfaction 
 in the knowledge that a moment of her greatness 
 in histrionic art has been chronicled by the sister 
 art of painting. 
 
 In addition to this picture, the walls of "Carrig- 
 Brae" are further adorned by original drawings 
 by Ruskin, Paul Sandby, and the archseologic 
 Petrie. Scattered about are fragments of antique 
 sculpture, ivories, and bronzes. The books are 
 mostly presentation copies from their gifted 
 authors to the presiding lady genius loci. Over 
 the diningrroom mantel is a case of Druidical 
 ornaments and ancient British ring coins; indeed, 
 the atmosphere of the house is full of scholarly 
 refinement and artistic culture. It was my good 
 fortune later on in my Irish experiences to visit 
 "Carrig-Brae," and to have pleasant converse 
 on Irish antiquities with its gifted hostess and 
 her distinguished brother, the President of the 
 Royal Dublin College of Surgeons. 
 
 This home by the sea may well be remem- 
 bered ; its treasures are priceless, and its sur- 
 roundings are poetic. During this visit to my 
 client, after an evening of music and delightful 
 converse, the guests sallied forth in the moon- 
 light to behold a sight which cannot be described. 
 
150 An Architect's Experiences 
 
 Preceded by our hostess, we threaded in single 
 file the dense forest, which leads to the highest 
 point of the rocky headland ; into this forest 
 the moonbeams could not penetrate, and the 
 only guide through its blackness was the white 
 robe of our fair pioneer, which seemed to glance 
 from rock to rock like a phantom gazelle, until 
 her figure stood silhouetted against the vault of 
 heaven. All around was the sea, enveloped in 
 a white mist ; above, the clear moonlit sky ; the 
 stillness broken at intervals by the shriek of the 
 Bailey fog-horn and the whirr of the night-jar. 
 The effect was weird, and will dwell in my 
 memory as one of the most interesting episodes 
 of my Irish experiences. 
 
 I have no desire to re-open a sad and 
 melancholy chapter in the history of my inter- 
 course with the Jameson family, but my life-story 
 would be incomplete without some allusion to 
 its distinguished member, James Sligo Jameson. 
 During the progress of m}^ professional work in 
 Dubhn, I had the privilege of making his 
 acquaintance, and had much opportunity of 
 forming a true estimate of his noble and lovable 
 character. 
 
 How James S. Jameson joined Stanley in the 
 search for Emin Pasha is a matter of history ; 
 and how he became one of the victims of the 
 "Rear Column" is still fresh in the minds of 
 those who took any interest in the fortunes of 
 
Professional, Artistic, and Theatrical. 151 
 
 that remarkable expedition. The last time I 
 saw him was at a sort of "house warming'' in 
 Fitzwilliam Square. He entered into the merri- 
 ment of the occasion, and was full of life and 
 high hope. He was a great hunter, and was 
 familiar with hardship and dangerous adventure. 
 His nature was gentle and sympathetic, and full 
 of love and goodwill to his fellow-man. He was 
 a born naturalist. I remember on one occasion 
 in his home in Queen Anne Mansions, in 
 London, we discussed the various methods of 
 drawing in black and white for the purpose of 
 reproduction by "process" work. The result of 
 his draughtsmanship is seen to advantage in 
 his " Story of the Rear Column of the Emin 
 Pasha Expedition," so ably edited by his widow. 
 The true estimate of Jameson's character is 
 given admirably and truthfully by his brother in 
 the preface to this book. He there says : "It 
 must indeed be a strongly prejudiced mind that 
 can read this diary without being impressed by 
 the sense of an immediate presence, of a gentle, 
 loving, and sympathetic nature, keen and true 
 of observation, with a pleasant humour, and a 
 gallant heart." 
 
 With Jameson's diary before the world, it would 
 be superfluous on my part to remark either on 
 his character or great ability. Whenever I think 
 of the genial face and gentle manners of James 
 Sligo Jameson, that brave but dreadful canoe 
 
152 An Architect's Experiences: 
 
 journey to Bangala rises before me in all its 
 ghastly horror ; I see also his body being taken 
 across the river by his friend Ward and the 
 Houssa soldiers, with the Union Jack as its 
 winding-sheet. " His resting-place is at the foot 
 of a giant cotton tree on the island opposite 
 Bangala, one thousand miles from the sea." 
 
 So ended the brave and gentle life of the 
 man I knew ; a life that ought not to have 
 been sacrificed, and which should have been 
 spared for spheres of future usefulness. I often 
 think of him lying in that island grave, far from 
 those who loved him, and who still keep his 
 memory green. 
 
 There was a remarkable week in Dublin during 
 the month of April, 1885. In this week the 
 Prince and Princess of Wales, accompanied by 
 the late Duke of Clarence, visited the Irish 
 capital, and were the guests of the then Lord- 
 Lieutenant, Earl Spencer. It so happened that 
 I had to go into County Wicklow to discuss 
 some alterations which my friend Mr. George 
 Jameson proposed to be made in his father's 
 country house, situated at the foot of the 
 "Sugar Loaf" mountain. I needed little per- 
 suasion to fit in this work with the week of 
 the Royal visit, and joined the house-party in 
 Fitzwilliam Square. I sometimes wonder how 
 my work was got through, for what with balls, 
 receptions, and races, attention to professional 
 
Professional, Artistic, and Theatrical. 153 
 
 matters was almost impossible. Business was 
 transacted, however, and I enjoyed at the same 
 time a delightful experience of Irish life and 
 character. 
 
 There is nothing in social life so pleasant and 
 enjo3^able as the hospitality of an Irish gentle- 
 man. It is a hospitality that hesitates at nothing 
 that is calculated to make its recipient happy 
 and comfortable. In this memorable week of 
 festivities I was invited to all kinds of functions 
 and entertainments, including a visit to Ireland's 
 Derby, Punchestown Races. 
 
 I think if a man wishes to study every phase 
 of Irish character, from the highest in the land 
 down to the humblest cabin peasant, he cannot 
 do better than visit Punchestown Races. Through 
 the kindness of my host, Mr. Andrew Jameson, 
 I had the opportunity of seeing these races 
 tinder most favourable auspices. Moreover, as 
 this was the " Prince's year," a visit to the 
 Curragh formed part of the Royal programme. 
 I suppose that outside the sporting community 
 Englishmen know nothing of the two days' festival 
 on the Curragh of Kildare ; it is certainly a 
 curious experience to an outsider to visit Punches- 
 town Races, and especially if the weather is not 
 propitious. 
 
 We sat down to breakfast on an April 
 morning with serious forebodings on the probable 
 dampness of the day. As we gazed through the 
 
154 -^" Architect's Experiences : 
 
 windows of the house in Fitzwilliam Square, the 
 whole face of nature looked leaden and ominously 
 gloomy ; but no matter what the condition of 
 the elements, I believe nothing short of an earth- 
 quake would have prevented that company of 
 jolly guests from journeying into Kildare County. 
 The carriages started for the railway terminus, 
 and as we drove along the quays by the side of 
 the ignoble Liffey, the rain began with a steady 
 determination to keep on. Our genial host kept 
 us in good spirits, and said we should be all 
 
 right, and that Billy R would make us 
 
 comfortable and happy ; and so he did ; — had it 
 not been for that kindly-disposed gentleman, we 
 should have fared but indifferently. At the 
 station we mixed with a crowd which for high 
 breeding, good dresses, and handsome faces, I 
 have never seen surpassed. This was essentially , 
 an aristocratic crowd, as the last train in time 
 for the races is reserved for the highest in the 
 land, including the Lord-Lieutenant. Our friend 
 (a railway director) had reserved a carriage, and 
 shortly after we were comfortably installed he 
 handed round cards of invitation from the 
 Kildare Street Club to partake of luncheon in 
 its tent on the Curragh. 
 
 Arrived at the Httle station, Sallins, our 
 troubles of locomotion began. I think I may 
 say that not only did the rains descend, but the 
 floods came, and I shall not soon forget that five 
 
Professional, Artistic, and Theatrical. 155 
 
 miles' drive to the racecourse. I cannot recollect 
 now how the whole of our party got there, but 
 I found myself on an outside car, which we 
 secured at a fabulous rate of fare. I should 
 imagine that those cars amassed enough wealth 
 to enable their drivers to pass the rest of the 
 year in comparative ease and luxury. 
 
 On we drove through the rain and slush, 
 smoking fiercely, and talking little. We must 
 have presented the appearance of a moving 
 mass of gingham and macintosh, out of which 
 " curled thin wreaths of smoke," mingled with 
 clouds of steaming perspiration. Our rate of 
 progress was fairly rapid until we entered the 
 town of Naas, one of the principal towns of the 
 county, and long the Royal seat of Leinster. 
 From a Danish mound in the centre of the 
 town were issued the laws for the government 
 of the province in the sixth, seventh, and eighth 
 centuries; hence the name Naas, which signifies 
 the "place of the elders." This old town was 
 gay with streamers and bunting, for at this 
 point the Royal party was to enter the line of 
 route to Punchestown. Getting clear of this 
 quaint old town, we entered the open country 
 by a narrow lane, gently undulating, with an 
 occasional abruptness in its gradients, and with 
 "scanty room for two abreast to pass" in the 
 shape of vehicles. 
 
 The procession to Punchestown (for it was a 
 
156 An Architect's Experiences: 
 
 procession from this point) was one of the 
 curious features of the day. We seemed to be 
 about the middle of three miles of Irish cars, 
 broken occasionally by an equipage of greater 
 bulk and pretension. As one looked ahead, or 
 to the rear, nothing but an endless stream of 
 cars ; verily, cars in front of us, cars behind us, 
 whose drivers "volleyed and thundered" in their 
 argumentative brogue. The rate of progress was 
 a slow march, with an occasional full-stop, which 
 almost jerked one into the road, and cleared 
 the cars of accumulated pools of rain-water. 
 Suddenly a cry arose, " The Prince ! the 
 Prince ! " whose approach in the rear was 
 announced by the nodding plumes of the Dragoon 
 Guards. With one accord the three miles of 
 "jaunting cars" drew into the nearest ditch to 
 let Royalty pass." Bowing and smiling at the 
 stream of down-looking faces, onward sped the 
 heir-apparent, leaving us to our damp and 
 wearisome procession. Arrived at a gate which 
 seemed to lead to nowhere in particular, we 
 dismounted, and tramped across a field to the 
 entrance to the Grand Stand. Here our scattered 
 party assembled, and the serious business of the 
 day began. My worthy host, knowing some of 
 my weaknesses, took me into the paddock, and 
 to a view of the Ladies' Grand Stand. I 
 question whether it would be possible to find 
 such a gathering of beauty and fashion anywhere 
 
Professional, Artistic, and Theatrical. 157 
 
 in Europe. It seems to be a point with the 
 ladies of Ireland to look their best and to dress 
 in their best at Punchestown, and despite the 
 rain, and waterproofs, one could detect the 
 newest fashions and the costliest materials — 
 alas ! before the day was over, to present a 
 draggle-tailed and limp appearance. But what 
 matter ? Youth and beauty still held their own, 
 and " all went merry as a marriage bell." 
 
 The view of the Curragh from the Grand Stand 
 is one of fascinating beauty ; the eye wanders 
 over an undulating plateau, covering about 5,000 
 acres of beautiful pasture land, enclosed by hills, 
 clothed centuries back with "primeval forests." 
 In the foreground is the straight piece of the 
 "course," on which assemble the competing 
 steeds, and from whence they start on their 
 headlong career. The bell sounds, the course 
 is cleared, and the horses assemble for the 
 Kildare Hunt Plate. A perfect Babel of voices; 
 but louder than all one hears the stentorian 
 cries of the professional men of the turf, and 
 I was assailed by "Two to one on 'Carmelite,'" 
 and one man in a strange white costume, 
 carrying something in front, like a modern 
 Autolycus, accosted me with "Two ponies on 
 the field." In my innocence I begged his pardon 
 and said, "Where? I don't see any." He 
 looked at me with supreme contempt, and then, 
 with a red and angry face, he repeated in a 
 
158 An Architect's Experiences: 
 
 louder voice his strange announcement. After 
 this I retired, and carefully avoided that man 
 for the rest of the day. 
 
 Mounting the Grand Stand we anxiously await 
 the start. As the horses and riders put in an 
 appearance there is a sharp running criticism on 
 their looks. "There goes Wyndham Quin on 
 'Carmelite,'" remarks my host; "he's a splendid 
 rider." And so he was. On his riding up to 
 the post a man behind us called out, " Odds 
 on 'Carmelite.'" He began in a clear, business- 
 like manner, but kept at it incessantly, till, at 
 the end of the race, his looks were apoplectic, 
 and his voice a hoarse whisper. "They're off!" 
 cried the vast multitude. Up the incline they 
 go like a flash of lightning ; over a couple of 
 fences, then they disappear for a time, and 
 come into sight again a mile away. " Now for 
 the stone wall ! " everybody exclaims. Over 
 they go ; one rider drops, the rest speed on, 
 some fall behind, but a small group still keep 
 together till the return of the course brings 
 them head foremost towards the shouting multi- 
 tude. 
 
 "By Jabers ! Quin leads!" "No, yes! — 
 'Carmelite' wins!" and sure enough, in rushes the 
 favourite and his dauntless rider, the victors in 
 the race for the Kildare Hunt Plate. 
 
 The race ended, a move was made for the 
 luncheon under the auspices of the Kildare Street 
 
Professional, Artistic, and Theatrical. 159 
 
 Club. A fine spread was provided in a handsome 
 building at the rear of the Grand Stand. We 
 found that the Club had been so lavish in its 
 hospitality that the chances of getting anything 
 to eat seemed very remote. However, by dint 
 of a little patience and good humour we managed 
 to see our hostess provided for ; then to forage 
 on our own account. I cannot give anything like 
 an idea of the good things provided, but the 
 empty jars of pate de foie gras and the dead 
 bottles of champagne were something startling as 
 to numbers. If I was interested in this luncheon, 
 I was more interested in the distinguished com- 
 pany. Irish gentlemen and ladies of "quality" 
 were all bent on satisfying that natural craving 
 which attacks all classes of the community at 
 certain intervals. I noticed Lady R. C. and the 
 beautiful Countess, " the Pride of Kildare," in 
 gold and citron velvet; Mrs. B., one of the 
 beauties of Dublin ; and on every side handsome 
 and genial faces, beaming and happy, under the 
 influence of Irish hospitality. 
 
 Returning to the course, my host informed 
 me that I must accompany him on a visit to 
 
 Old . This seemed a mysterious summons ; 
 
 but I was prepared for anything after the singular 
 experience of that day. So away we went in 
 single file across the course, threading our way 
 amongst the vehicles and crowds of the great 
 unwashed, until we seemed to be nearing the 
 
i6o An Architect's Experiences: 
 
 centre of the Curragh. Suddenly we stood on a 
 little eminence and looked down into a circular 
 little valley, in which there was a circular little 
 tent. In this tent was the soul of hospitality in 
 the shape of a jolly-looking gentleman, to whom 
 I was introduced as an English stranger. A 
 hearty shake of the hand, a kindly welcome, and 
 a fresh bottle of champagne were gone through 
 almost before one could say " Jack Robinson." 
 Oh ! that dry champagne, shall I ever forget it ? 
 But after that memorable day I dared not look 
 at any bottle with a gold label for a period of 
 three months. Our host of the tent seemed to 
 take no interest in the races ; but every year he 
 pitches his canvas house, and dispenses good 
 things and kindly words to anyone properly 
 introduced. This may seem strange ; but it is 
 thoroughly characteristic of an Irish gentleman, 
 who considers " Punchestown" in the light of a 
 national institution. 
 
 The racing over, we waded through clay-mud 
 under pouring rain to our carriages, and so back 
 to Sallins, and home to a delightful dinner- 
 party; and then "to billiards" and something 
 else. My dreams were mixed with visions of fair 
 women, apoplectic backers of " Carmelite," gold 
 labels, chaffing car-drivers, and the thousand 
 other things which made up my first and only 
 day at Punchestown. 
 
 I should imagine that one of the most impor- 
 
Professional, Artistic, and Theatrical. i6i 
 
 tant events in the social history of DubHn was 
 the Citizens' Ball in honour of the Prince and 
 Princess of Wales. It was a wonderful spec- 
 tacle, and took place on April 22nd, 1885, in 
 the large hall at Ball's Bridge, where agricul- 
 tural shows are usually held. This hall is 
 situated a short distance out of Dublin, in the 
 direction of Kingstown, and is admirably adapted 
 for large gatherings, either social or political. 
 The interior had undergone a magical change, 
 under the skilful hand of the decorator. The 
 walls were lined with flowered cretonne : the 
 whole place seemed transformed, and the ar- 
 rangements for the comfort of the visitors were 
 perfect. 
 
 It was difficult to say why, but amidst all the 
 festivities of that week there was a feeling of 
 unrest in our minds, and a dread of something 
 happening. We knew that every precaution had 
 been taken for the protection and safety of the 
 Royal visitors ; still, we could not rid our minds 
 of anxiety. When the vast assemblage in that 
 ballroom, attired in uniforms. Court dress, silks 
 and satins, and civilian black, opened up a pas- 
 sage to allow of the entrance of the Court party, 
 one was forcibly struck with the anxious and 
 careworn look on the face of the Lord-Lieutenant. 
 It gave one the impression that he would be 
 thankful when the Royal visit was brought to a 
 safe and successful conclusion. 
 
 M 
 
i62 An Architect's Experiences: 
 
 The sight from the galleries was a thing to be 
 remembered. The Royal party opened the ball 
 with a quadrille, the Prince leading out Lady 
 Spencer, and Earl Spencer the Princess of Wales, 
 the band playing " Erin-go-bragh." The vast 
 assemblage looked on till this first dance was 
 ended ; then the floor of the great hall, as viewed 
 from the galleries, seemed to become alive with 
 waltzing couples. The good citizens in their 
 sombre black, mixed with the bright hues of the 
 military, the gay robes and flashing jewels of the 
 ladies, presented an ensemble not easily forgotten. 
 The management of that ball was perfect ; the 
 stewards with long white wands, like so many 
 Lord Chamberlains, numbered amongst them 
 many well-known Dublin men. One of these 
 
 was the contractor. Alderman M , who was 
 
 afterwards Lord Mayor, and who received the 
 honour of knighthood as a loyal upholder of 
 authority in the city. I thought of my appoint- 
 ment with him for the following day in County 
 Wicklow, and wondered whether either of us 
 would keep it. We had little repose that ball 
 night. I have a vivid recollection of driving 
 home in the dawn, and sitting down with the 
 house party in Fitzwilliam Square at a hospit- 
 able board, in the hall that looked baronial with 
 my oak panelling and the trophies of the hunting 
 members of the Jameson family. 
 
 In the autumn of 1886, I paid a visit to my 
 
Professional, Artistic, and Theatrical. 163 
 
 friend Mr. Vernon Cochrane in County Sligo. 
 This visit had no professional significance. I 
 was, however, taken across Ballysodare Bay, to 
 be introduced to Sir Malby Crofton, Bart., whose 
 mansion, Longford House, had been destroyed 
 by fire. The question of rebuilding was dis- 
 cussed, and an interesting and pleasant day was 
 passed in the midst of beautiful scenery. 
 
 Englishmen seem to know little of north- 
 western Ireland : few tourists trouble Sligo with 
 their presence, and only a few American " globe- 
 trotters " go out of the beaten track to visit 
 Lough Gill, one of the most beautiful lakes in 
 the island. In addition to this lake and the 
 fine mountain scenery of the district. County 
 Sligo may claim our best attention as a re- 
 pository of pre-historic remains and old-world 
 archaeology. It was the Viking's haunt, and the 
 battle-ground of wild, mysterious races, whose 
 history has never been written. 
 
 The traveller to Sligo from Dublin passes 
 through Mullingar, Carrick-on-Shannon, Boyle, 
 with its beautiful old abbey ; Ballymote, with its 
 castellated walls, and terminates his journey amid 
 the wild limestone ranges which enclose the pic- 
 turesque town of Sligo. On arriving at Sligo 
 one naturally expects to see the Bay and the 
 broad Atlantic beyond ; but the town lies in the 
 hollow formed by the vast mountains around, and 
 it is necessary to ascend by the roads leading 
 
164 An Architect's Experiences: 
 
 into the country, before a true idea of the 
 geography can be formed. My host Hves about 
 five miles west of the town, and he had not 
 driven many yards homewards before I became 
 convinced that I had entered suddenly a country 
 of megalithic remains. Dolmens, cairns, raths, 
 and cromlechs met the eye at every turn, the 
 crowning point of interest being the immense 
 cairn on the top of Knock-na-Rea : — 
 
 There wrought 
 The people of the Westerns 
 A mound over the sea. 
 It was high and broad, 
 By the seafaring man 
 To be seen afar. 
 
 Glen Lodge, the point of our destination, is 
 situated at the foot of this isolated mountain, 
 which rises from the plain between the bays of 
 Sligo and Ballysodare. The situation is isolated, 
 wild, and weird : one seems to be in a strange 
 country ; and, but for the distant roar of the 
 Atlantic, it would be easy to imagine the world's 
 end had been reached. Behind this home by 
 the sea, the " Hill of the King" rises to a height 
 of a thousand feet ; in front is the beautiful Bay 
 of Ballysodare, with a mountain range in the 
 distance, capped by Knock-na-Cree, the " Hill 
 of the Queen," rising to a height of sixteen 
 hundred feet ; whilst to the right lies a vast 
 expanse of ocean, whose waves roll upon the 
 shores of the New World. 
 
Professional, A rtistic, and Theatrical. 165 
 
 The shores of Ballysodare are unique in cha- 
 racter ; and, at the risk of being charged with 
 exaggeration, I may say that they consist of one 
 vast tract of oyster-shell deposit, covered with 
 a thin layer of soil and velvet turf, on which 
 blooms the wild rose in rich luxuriance. The 
 waves of the Bay dash against a wall of oyster 
 shells, layer upon layer, forming a cemented 
 mass of shell-rock, rising to a height of six or 
 eight feet above the water ; and to what depth 
 they extend it is impossible to say. How many 
 countless ages have run, during which these shells 
 have been deposited ? It is a curious subject 
 for speculation, and well worthy the considera- 
 tion of the learned. Oysters grow in this bay 
 in rich profusion, but the culture is carried on 
 in a careless, half-hearted way. I saw a tract 
 of shore, some miles in length, where the germ 
 of oyster growth lies waiting the attention of 
 some capitalist. What a chance for the develop- 
 ment of an Irish industry ! I visited the house 
 of a gentleman who is cultivating a small oyster 
 bed, and the excellent quality of the oysters is 
 attested by the number of gold and silver medals 
 in his cabinet, which he has carried off where- 
 ever he has exhibited. I tried to gain some 
 information from him about the extraordinary 
 deposit along the shores, in vain ; but I was 
 astonished when he informed me that his house, 
 which is considerably above the shore, was built 
 
i66 An Architect's Experiences: 
 
 on the same deposit. What can have happened ? 
 Has the sea gone back, or has the land been 
 upheaved ? I leave these questions to savants ; 
 the whole thing is a mystery, and one of the 
 curious features of the Viking's Country. 
 
 Another curiosity is a geological one : on the 
 side of Knock-na-Rea is a huge crack or fissure 
 about a mile long, and with an average width 
 of twenty-five feet. This is called " The Glen." 
 On each side thp rocks are clothed with moss 
 of the richest gold colour, and hanging in tropi- 
 cal magnificence. The ground is covered with 
 harts-tongue fern, growing in such luxuriance 
 that I fancied myself in some huge conserva- 
 tory. These ferns grow to such a size that" 
 their fronds remind one of palm trees, and 
 wherever the eye turns they shoot out their 
 graceful stems of the most exquisite green colour. 
 This glen is what the Americans would call a 
 "gulch," and is in all probabihty the course of 
 a river which flowed to the sea long before the 
 Vikings steered their conquering course to the 
 shores of Sligo. 
 
 The neighbourhood of Sligo was the fighting 
 ground of ancient Ireland, and the battles of 
 Moytura have left us the rude memorials of the 
 dead known as megalithic monuments. All the 
 information we have of these bloody struggles is 
 contained in the MS. known as the Annals of the 
 Four Masters, in which we are told that a colony 
 
Professional, Artistic, and Theatrical. 167 
 
 of Firlogs, or Belgue, settled in Ireland, turning 
 out the Fomorians who came from Africa. They 
 in their turn were attacked by a colony of 
 Tuatha de Tananns, who in the two battles 
 were victorious, and held the country for nearly 
 two hundred years. 
 
 I made the ascent of Knock-na-Rea under the 
 guidance of my host of Glen Lodge. From the 
 house it is a stiff climb, although by no means 
 an arduous undertaking. After the steepest part 
 is passed, a gentle ascent leads to the extensive 
 table-land, in the centre of which stands the huge 
 cairn. To anyone seeing such a cairn for the 
 first time, it is an astonishing sight ; and it is a 
 matter for wonder how such a pile of small 
 stones was accumulated, and by what process 
 they were deposited at such an altitude. Its 
 original circumference at the base was 650 feet, 
 and its circular top measured 100 feet across. 
 It is now about 70 feet in height. In the 
 immediate vicinity are other monumental remains, 
 consisting of upright stones arranged in circles or 
 ovals. These have been investigated, and human 
 remains and stone implements found similar to 
 those on the battle-fields. There are several 
 theories as to the contents of the cairn; but for 
 several reasons I dismiss the one that it was 
 erected over Meave, the Queen of Connaught, 
 who is supposed to have been contemporaneous 
 with Caesar Augustus. This is no burial-place 
 
1 68 An Architect's Experiences: 
 
 of a Queen, but rather of some great chieftain, 
 who fell on the battle-fields overshadowed by 
 Knock-na-Rea. Here the great Viking rests, on 
 an eminence which commands as fine a circular 
 panorama of sea and land as can be found in 
 the three Kingdoms. An isolated mountain of 
 limestone, standing between the two bays of Sligo 
 and Ballysodare, it rises majestically as a founda- 
 tion for the Viking's monument. Looking inland 
 towards the east, the town of Sligo seems no 
 bigger than a child's toy, reposing amid a 
 panorama of splendid hills ; on the left of the 
 town rise the mountains forming the Vale of 
 , Glencar ; on the right the horizon is bounded by 
 another range of hills, in which lies the beautiful 
 Lough Gill, studded with islands : whilst the 
 eye, sweeping round towards the sea, encounters 
 Ballysodare Bay, bounded by Knock-na-Cree; 
 and finally the sight is lost in the western 
 expanse of ocean, with the great mountains of 
 Donegal on the extreme right. Surely a more 
 sublime resting-place for the Viking chief could 
 not be found. Here he lies, overlooking sea and 
 land, his monument a landmark for the " sea- 
 faring man," and a lasting record of triumphs 
 on both elements. One might inscribe on this 
 rude pile, the simple lines : — 
 
 I was a Viking old I 
 My deeds though manifold 
 No skald in song has told, 
 No saga taught thee. 
 
Professional, Artistic, and Theatrical. i6g 
 
 One might dwell long on the beauty and 
 grandeur of this Viking's country. Glencar, 
 Tanrego, and Longford are picturesque localities ; 
 the old Abbey of Sligo, with its quaint cloisters, 
 and rough, unkempt burial-ground, the beautiful 
 so-called Runic Cross of Drumcliff, will dwell in 
 the memory as representative bits of architecture 
 of that Gothic phase peculiar to Ireland. And 
 last, though not least, will never be forgotten, 
 the genial, hospitable, and hearty welcome I 
 experienced from the cultured men and women 
 of Sligo with whom I came in contact. There 
 seems nothing but content and homely comfort 
 in this county ; no landlord terrorism or dis- 
 contented peasantry ; but on all sides peace and 
 quiet, and industries waiting development. 
 
 For several years succeeding the autumn of 
 1892, my professional time was mainly occupied 
 with work in Ireland. My firm had made exten- 
 sive additions to Ryecroft Hall, near Ashton- 
 under-Lyne, in Lancashire, the residence of Mr. 
 Abel Buckley. In this house are to be found 
 some of the finest Turner drawings in the 
 country ; also the master's great work in oil, 
 known as " The Trout Stream," and choice 
 examples of Linnell, J. C. Hook, Nasmyth, and 
 Herkomer. Mr. Buckley inherited extensive 
 estates near Mitchelstown, in County Cork. In 
 a beautiful valley at the base of the Galtee 
 Mountains a small shooting-box had been built 
 
lyo An Architect's Experiences: 
 
 by the Lord Kingston who has left behind him 
 the reputation of having ruined his fortunes in 
 his efforts to entertain George the Fourth. 
 Mitchelstown Castle, a huge limestone pile of 
 Gothic architecture, is still the home of the 
 Kingston family. The shooting-box referred to 
 has always been known as Galtee Castle. It was 
 to the extension and completion of this building 
 that my professional efforts were directed for 
 some years. In this wild and beautiful country, 
 I had many opportunities of studying the agricul- 
 tural and peasant life of the Irish people : my 
 experiences were in strange contrast with the 
 phase of life I had been accustomed to in such 
 centres of civilisation as Dublin and Belfast. 
 The workmen in connection with the building 
 trades have several peculiarities of character. 
 They move slowly and almost leisurely in their 
 Avork ; and as the works at Galtee had to proceed 
 speedily and promptly, it was deemed expedient 
 that the contract should be let to an English 
 firm. The English contractors wisely employed 
 a large number of Irish masons, under a native 
 foreman, who was energetic and thoroughly under- 
 stood his business. In justice to these men, I 
 must record the fact that they turned out a 
 first-class set of workmen, and their work was 
 highly satisfactory. By explanation and quiet 
 argument I obtained their good opinion, and got 
 good work from them. Without taking any 
 
Professional, Artistic, and Theatrical. 171 
 
 credit for this method of treatment, I take some 
 pride in the knowledge that I never met an 
 Irish workman a second time but he was pleased 
 to see me, and to work under my supervision. 
 
 Cotemporary with the work in County Cork I 
 was engaged in superintending the erection of a 
 country home at Howth, in County Dublin, for 
 which my firm received a commission from my 
 old friend, Mr. Andrew Jameson. The social 
 intercourse I enjoyed during this important work 
 will always remain with me a pleasant memory. 
 The hospitality I experienced in Fitzwilliam 
 Square, the Irish Yacht Clubs, and at the time- 
 honoured Sackville Street Club, resulted in some 
 of the pleasantest social functions I have expe- 
 rienced. It was at the Sackville Street Club that 
 I first met Professor Dowden. The occasion was 
 a quartet dinner-party. At one end of the table 
 sat the governor of the Bank of Ireland, Mr. 
 Robertson ; at the other end my host, Mr 
 Jameson, deputy-governor ; my vis-a-vis being the 
 learned professor. I was in doubt as to what 
 would be the nature of the conversation : whether 
 I should venture on finance — of which I knew 
 nothing — the prospects of the Manchester Ship 
 Canal, a subject on which my ignorance was also 
 profound — or Literature. On the latter subject I 
 scarce could venture in the presence of such a 
 scholar ; I therefore adopted my usual course in 
 such a situation, and boldly launched the subject 
 
172 An Architect's Experiences: 
 
 of Irving and his art. I have always found that 
 this subject either provokes a storm of abuse 
 or a psean of praise. In either case something 
 happens, and there is abundant conversation. I 
 knew that Professor Dowden had written a hfe of 
 the Bard for "The Henry Irving Shakespeare," 
 and I felt I was on safe ground. The result was 
 a pleasant talk on dramatic art ; and our friend 
 Sir Henry Irving was declared to be its greatest 
 living exponent. 
 
 One of the most pleasant and interesting 
 works of my professional life was the extensive 
 alteration and decoration of No. 18, Rutland 
 Square, Dublin, for my friend Mr. George 
 Jameson. This house stands in the immediate 
 neighbourhood of that well-known classical stone 
 residence of the Lords Charlemont. The interior 
 is remarkable for that beautiful stucco ornament 
 peculiar to the work of the brothers Adam. 
 The detail of this work is refined in its lines 
 and beautiful in design. It was the fashion of 
 the time to leave this ornament white, with 
 occasional gilding. In the main salon of this 
 house the ceiling of Adams' work was enriched 
 by circular medallions by Angelica Kaufmann — 
 four figure subjects of the Seasons, and a central 
 picture of the Dawn of Love. The white sur- 
 rounding of these beautiful works caused them 
 to look like crude blots with no balancing accom- 
 paniment of colour. Without changing a single 
 
Professional, Artistic, and Theatrical. 173 
 
 line or ornament, a colour result was produced 
 which enhanced the beauty of the work of the 
 two great artists who did so much for the 
 decoration of the town houses of the second 
 half of the last century. I record with pleasure 
 that this work was carried out with the help 
 of Irish workmen and Irish artists. 
 
 With the year '95 closed my interesting work 
 in Ireland. I look back upon the pleasant inter- 
 course incidental thereto as a bright episode 
 in a chequered professional career, and which 
 has generated a delightful and abiding memory. 
 
174 ^^ Architect's Experiences: 
 
 CHAPTER XVI. 
 
 TT was probably owing to the fact of my 
 -*- association with the Prince's Theatre, Man- 
 chester, during the Calvert regime, that I was 
 consulted in the early part of 1881 by the 
 Committee of the Lancashire Independent College 
 in reference to an Artistic Bazaar held in the 
 Great St. James's Hall in Oxford Street. I had 
 designed and modelled the scenery for Charles 
 Calvert's great revival of " Henry the Fifth," 
 wherein the architecture of Mediaeval London 
 was reproduced on the stage. The College 
 Committee thought that something of the same 
 kind on a large scale would attract the whole 
 county, independently of the usual attractions 
 of a bazaar. I determined to reproduce the 
 quaint and picturesque architecture of the 
 "Fatherland," in the form of a German town 
 existing at the close of the 15th century or 
 beginning of the i6th, with streets, bridges, 
 towers, squares, and churches. 
 
 This determination was based upon two 
 reasons : first, the unusual size of the St. 
 
Professional, Artistic, and Theatrical. 175 
 
 James's Hall, Manchester, which rendered the 
 idea practicable ; and secondly, the fact that 
 the picturesqueness and florid exuberance of 
 German architecture constitute rare elements for 
 artistic and scenic display. At no period in 
 the history of German art was this richness of 
 fancy more expressed than in that age when 
 Maximilian I. reigned over the Holy Roman 
 Empire, and delighted to honour Germany's 
 greatest artist, Albert Diirer. It is precisely the 
 sort of architectural art that reached its acme 
 at this period, the spirit of which the artists 
 attempted to realise in the St. James's Hall. 
 Although the town was called Mediaeval, many 
 details of Classic origin and tradition are found 
 grafted on to Gothic forms ; this being the result 
 of the great wave of the Renaissance, which 
 had swept over Europe, and only reached this 
 country in the reign of Henry the Eighth, and 
 France in the reign of Francis I. Both monarchs 
 ended their reigns in the same year, 1547, having 
 fairly inaugurated the Renaissance through the 
 medium of those great German artists who 
 were called in to practise a style of art already 
 firmly planted in their own country. Under 
 the influence of this great art revolution, the 
 severity and purity of Gothic architecture was 
 drowned in the wild extravagance of revived 
 Classicism, the result being picturesque confusion 
 at the sacrifice of all known canons of Art. 
 
176 An Architect's Experiences : 
 
 This is the condition of German architecture 
 that was represented in the Bazaar Town ; in 
 the Cathedral front the old Gothic of the grand 
 Minsters of the Rhine country was thoroughly 
 realised, as also in the exquisite fountain, based 
 upon the original at Brunswick. Some of the 
 stone- fronted gables indicated evidence of their 
 mediaeval origin, whilst in the various wooden 
 houses was to be observed that mixture of styles 
 before alluded to. Like Diirer's grand old city 
 of Nuremburg, and many others in Germany, 
 these buildings were surrounded by fortifications, 
 with their various entrance towers, protected by 
 portcullis and barbican. Towns similarly enclosed 
 may still be seen in Germany, Northern Italy, 
 and especially in Tuscany. An attempt was 
 made to assimilate the costume of the ladies 
 to the architecture and art character of the* 
 town. Some of these costumes were severe and 
 simple, others more ornate and picturesque ; the 
 material employed was British printed calico, 
 in various groupings of colour, and the happy 
 harmony thus secured was most effective. 
 
 The Bazaar was opened on the 2nd of May, 
 1882, with important ceremonial, and the Band 
 of the 2nd Dragoon Guards in full uniform, by 
 special permission of the War Office, marched 
 through .the streets playing appropriate music. 
 Thus was inaugurated that series of " Shows " 
 with which I have been associated, including 
 
Professional, Artistic, and Theatrical, 177 
 
 the great " Scotch City," in the Curzon Hall, 
 Birmingham ; the " Fortified Town," in the St. 
 James's Hall, Manchester; the "Shakespeare 
 Show," in the Albert Hall, London ; and lastly, 
 the magnum opus in this line of art, " Old 
 Manchester and Salford," at the Royal Jubilee 
 Exhibition, in 1887. I recall these efforts with 
 satisfaction for many reasons. They 'were 
 successful from an artistic point of view (thanks 
 to the clever painters who worked on them) ; 
 they realised large sums of money for their 
 respective objects — the profits from the German 
 Town realised a sum exceeding ^15,000; — they 
 secured many friendships of which I have 
 pleasant memories. 
 
 The history of these "Shows" would form a 
 fair-sized volume, but I must confine myself in 
 these pages to a brief record, and only touch 
 upon the main points of interest. These exhibi- 
 tions were not realised without much research, 
 anxiety, and some troubles. My duties did not 
 end with the representations of bricks and mortar, 
 timber and stone, but I had to design the 
 costumes appropriate to the different periods of 
 architecture, and to the respective nationalities 
 in connection therewith. I sometimes wonder 
 how I got through these costume troubles without 
 serious quarrels ! but somehow they were got 
 through, and I cannot remember that any woman 
 really detested me for my autocratic behaviour. 
 
178 An Architect's Experiences: 
 
 I hit upon the happy idea of addressing the 
 ladies en masse at a meeting devoted to the 
 consideration of costume. I explained how 
 necessary it was that the dresses should be 
 correct, even if unbecoming a nineteenth century 
 woman. The dresses were made from my 
 drawings, and when tried on I was called in to 
 pass judgment on the result. I think the source 
 of my greatest vexation was with the dress- 
 makers ; these persons could not resist the 
 temptation of introducing some modern feature 
 or "fancy" trimming as, "more becoming, you 
 know, to the lady's figure and complexion." 
 " To what base uses we may come, Horatio ! " 
 I often had to cut out patterns (full size, to use 
 a professional term), and generally discharge the 
 duties of a lady's tailor. What a time Worth 
 must have had ! yet, I do not envy him lys 
 immense reputation. 
 
 This dress-designing phase of my professional 
 life has enabled me to study all sorts and con- 
 ditions of women, from the lady of noble rank 
 down to the autocratic bourgeoise dame. I 
 always experienced respect and kind consideration 
 from ladies of aristocratic associations ; they 
 entered with enthusiasm into the spirit of our 
 object, and occasionally they would add to the 
 interest of the costume by donning historic jewels, 
 old lace, and other heirlooms of the exact period 
 sought to be represented. 
 
Professional, Artistic, and Theatrical. 179 
 
 The most complete and beautiful result in 
 these "Show" costumes was at the "Scotch 
 City" in Birmingham, the bazaar being in aid 
 of St. Alban's Church, then under the care of 
 the brothers Pollock, and was opened on Sept. 
 i8th, 1883, by the Hon. R. H. Lyttelton, in 
 the presence of a distinguished assemblage. My 
 scheme was to reproduce a phase of Tudor dress 
 peculiar to the period of Mary Queen of Scots. 
 The ladies of the Midlands responded heartily, 
 and embraced the idea with enthusiasm. I 
 recollect standing under the awning over the 
 entrance doorway to see the ladies arrive on 
 the opening day. Some arrived in carriages, 
 others in humble four-wheeled cabs. After a 
 while the immense crowd had to make way for 
 the approach of a family chariot, driven by pos- 
 tillions in blue and gold liveries. I recognised 
 its occupants, and as I assisted Lady Georgina 
 Vernon from Hanbury Hall to alight, a murmur 
 of applause arose : it seemed as if a figure had 
 escaped from a frame in its ancestral home, and 
 had wandered forth to show the nineteenth cen- 
 tury what beautiful costume was worn in the 
 days of the fair but frail Queen Mary of Scot- 
 land. The master of the ceremonies, at my 
 suggestion, persuaded the ladies of the bazaar 
 to parade the streets of the old city : as they 
 crossed the bridge connected with its fortified 
 walls a beautiful sight was revealed, very satis- 
 
i8o An Architect's Experiences: 
 
 fying to the artistic eye. This idea was reahsed 
 daily at a certain hour, and hundreds paid their 
 shilhngs to see the procession who did not spend 
 even a copper at the bazaar. The unlooked-for 
 financial success of the St. Alban's Bazaar was 
 in a great measure owing to this daily event. 
 It is a pleasant memory in connection with the 
 " showman " portion of my professional work. 
 
 The great Military Bazaar, held in aid of the 
 funds of the First Manchester Volunteers, took 
 place in the St. James's Hall. On this occasion 
 I converted the great room into a fortified city, 
 with battlemented walls, bastions, barbicans, and 
 other architectural features. Inside these forti- 
 fications was a small mediaeval town, with narrow 
 streets and quaint shops. Outside the city gates 
 were various "shows" appropriate to a town en 
 fete. This town was built so as to give the idea 
 of solidity and reality. The opening ceremony 
 was an interesting event, and took place on the 
 nth of November, 1884. Colonel Stanley, a 
 former War Secretary (now the Earl of Derby), 
 presided, and declared the bazaar open. Lady 
 Constance Stanley, now Countess of Derby, pre- 
 sided over the flower stall ; the Countess of 
 Wilton and the Countess of Sefton were in 
 charge of the refreshment stall, or " Canteen," as 
 it was called. The other stalls, which represented 
 the several companies forming the regiment, were 
 under the charge of well-known local ladies. The 
 
Professional, Artistic, and Theatrical. i8i 
 
 " First Manchester" has always been a favourite 
 regiment with the public. When the Volunteers 
 were first massed in Hyde Park in i860, this 
 body of men passed with steady step and com- 
 pact form under the arch, and won the admiration 
 and applause of the Cockney crowds. They were 
 greeted with shouts of "Well done. Lanky!" 
 " But where are yer clogs?" They received high 
 praise from regular officers, and from those in 
 high places interested in military matters. The 
 "Fortified Town" Bazaar was a great success, 
 and in five days an amount was raised of some- 
 thing like -^4,000. This sum enabled Lieutenant- 
 Colonel Bridgford, C.B., to change the uniform 
 of his corps from grey to scarlet, in obedience to 
 War Office commands, and to secure in many 
 ways the efficiency of the regiment. 
 
 The Chelsea Hospital for Women in the 
 Fulham Road, London, is an admirable institu- 
 tion, which has been fortunate in securing the 
 patronage and support of the greatest ladies in 
 the land. The foundation-stone was laid by the 
 Princess of Wales, and the building was declared 
 open by the Duchess of Albany. In 1884, when 
 my professional services were required, the hospital 
 had for its secretary Mr. J. S. Wood, since the 
 founder and accomplished editor of the Gentle- 
 woman. Mr. Wood was, besides being an admi- 
 rable secretary, a first-class showman. When 
 he determined on any line of action, having 
 
i82 An Architect's Experiences: 
 
 for its object the raising of money for his 
 favourite hospital, the Committee of Manage- 
 ment backed him up, and placed implicit 
 confidence in his efforts. The supreme effort 
 made by Mr. Wood took the form of a bazaar, 
 which was known and will be ever known in 
 bazaar history as " The Shakespeare Show." 
 
 This event took place in the Royal Albert 
 Hall, London ; the opening ceremony was on 
 May 29th, 1884. The Earl of Cadogan officiated 
 in the place of the Prince of Wales— who was 
 unable to be present — and amid a flourish 
 opened the " show." 
 
 Many of my readers will know that the Albert 
 Hall is an immense building, on the plan of an 
 ellipse, similar to the great Flavian Amphitheatre 
 in Rome. It was a matter of considerable diffi- 
 culty to design a setting for the show which 
 should be effective in so large an area. Each 
 stall was called after one of the plays, decorated 
 with appropriate scenery, and the stall-holders 
 were habited in correct costume, in accordance 
 with the period of action. The pla}-s selected 
 for the stalls were : The Merchant of Venice, 
 Romeo and Juliet, Winter's Tale, Much Ado 
 about Nothing, Measure for Measure, Hamlet, 
 King John, Macbeth, Richard the Third, Merry 
 Wives of Windsor, and As You Like It. The 
 stalls were enclosed in an architectural structure 
 of Elizabethan design, with a central dome ; the 
 
Professional, Artistic, and Theatrical. 183 
 
 cupola of the dome was surmounted by the 
 well-known cross-legged statue of the poet. The 
 great organ was concealed by the Stratford-on- 
 Avon Church, and by a representation of Shake- 
 speare's birthplace. The realisation of this idea 
 was a complicated and difficult matter. The 
 artists and contractors selected were not accus- 
 tomed to work on such a large scale. It was 
 with the greatest difficulty that the structure 
 was erected in time for the opening ceremony ; 
 in fact, the spire of Stratford Church was lying 
 on the top rows of the amphitheatre seats when 
 the public entered the building. How I longed 
 for my Lancashire workmen ! they would have 
 overcome all the difficulties of the situation, 
 and would have worked incessantly rather than 
 leave their work incomplete or break faith with 
 the public. 
 
 The troubles in connection with the painting 
 and erection of the structure were light in com- 
 parison with those I experienced in dressing 
 both the male and female characters who took 
 part in the bazaar. After carefully drawing 
 out the costumes, and sending the drawings to 
 their respective wearers, I was met by a sea 
 of troubles. Some of the ladies and gentlemen 
 worked them out to suit their own fancy, whilst 
 others were anxious to have the correct thing. 
 Discussions were held over lunches, dinners, and 
 suppers in all parts of the West End of London, 
 
184 An Architect's Experiences: 
 
 and I felt a tired and miserable being on the 
 opening day. Oh ! that Opening Day ! I shall 
 never forget it. When the stall-holders entered, 
 my disappointment was intense. The correct 
 dresses were modernised and so improved upon, 
 that I scarcely knew what they were intended 
 to represent. In some cases, however, the 
 drawings were carefully adhered to ; and when 
 we posed the Juliet, the Beatrice, the Hero, 
 the Hermione, and the others for the opening 
 tableaux, the effect was very pleasing and 
 satisfactory. The arrangement of these living 
 Shakespearian pictures was a matter of some 
 difficulty ; in this part of the work I was kindly 
 assisted by the late Lord Leighton and Mr. 
 Val Prinsep. These tableaux decided upon, 
 the curtains to each stall were drawn over them, 
 and looped up again to a blast of trumpets* as 
 Lord Cadogan approached. Thus the great 
 " Shakespeare Show " was opened on behalf of 
 the Chelsea Hospital for Women. 
 
 This bazaar was lavishly advertised, and 
 inaugurated under the highest patronage. My 
 friend, the late Randolph Caldecott, made some 
 beautiful drawings of the costumes, and of the 
 humours of the "Show" for the Illustrated London 
 News; and Dr. Furnivall organised and arranged 
 the display of Shakespearian Relics. 
 
 " The Show Book " was an admirable pro- 
 duction. It was written and illustrated by the 
 
Professional, Artistic, and Theatrical. 185 
 
 leading literary men and artists of the day. 
 The late Poet Laureate sent the following lines, 
 specially written for the book : — 
 
 STANZA. 
 
 By Lord Tennyson. 
 
 Not he that breaks the dams, but he 
 
 That thro' the channels of the State 
 Convoys the people's wish, is great ; 
 His name is pure, his fame is free. 
 
 A. Tennyson. 
 
 Robert Browning sent us the following lines: — 
 
 THE NAMES. 
 By Robert Browning. 
 Shakespeare! — to such name's sounding, what succeeds 
 Fitly as silence ? Falter forth the spell, — 
 Act follows word, the speaker knows full well. 
 Nor tampers with its magic more than needs. 
 Two names there are: That which the Hebrew reads 
 With his soul only ; if from lips it fell, 
 Echo, back thundered by earth, heaven and hell. 
 Would own "Thou did'st create us!" Nought impedes 
 We voice the other name, man's most of might, 
 
 Awsomely, lovingly: let awe and love 
 Mutely await their working, leave to sight 
 All of the issue as — below — above — 
 Shakespeare's creation rises : one remove. 
 Though dread — this finite from that infinite. 
 
 Robert Browning. 
 March 12, '84. 
 
 Literary contributions came from the pens of 
 
i86 An Architect's Experiences: 
 
 Herman Merivale, Lewis Wingfield, Lady Brassey, 
 "Violet Fane," Frank A. Marshall, Lady Constance 
 Howard, F. J. Fargus ("Hugh Conway") and 
 many others. As joint showman with Mr. Wood, 
 I wrote the following by way of explanation of the 
 "Show," under the title of — 
 
 A VOICE FROM THE TOMB. 
 
 I, Master William Shakspere, one of the Right 
 Honourable Lord Chamberlaine his servants, of the 
 Globe, on the Banke side, and belonging to the towne 
 of Stratford, by the Avon, from my tomb, wherein my 
 body lieth, in the church of the Holy Trinity, my voice 
 proceedeth to the men and women of the nineteenth 
 century, and I bid them to come forth to witness the 
 show of my plays, which have been enacted divers 
 times by the Right Honourable Lord Chamberlaine, 
 his servants playing usually at the Globe, on the 
 Banke side, as also in the two Universities of Cam- 
 bridge and Oxford, as well as before her most gracious 
 and Protestant Majestie Elizabeth, of sacred and illus- 
 trious memorie. 
 
 These sayed plays will be showed in the month of 
 May next ensuing, at the Great Albert Halle, situate 
 in the district of fair Kensingtowne, whither I invite 
 all good people, in the most sacred name of Charitie, 
 for the allaying and removing of the bodily sufferings 
 of women living in the good Hospital situate in the 
 Fulham Road, in great London towne. Therefore, ye 
 men and women of England, if ye love and cherish 
 my memorie, for the tales of loves, joys, and sorrows 
 incident to humanitie, which I humbly told when in 
 the flesh, I entreat ye to come to my Show aforesaid, 
 
Professional, Artistic, and Theatrical. 187 
 
 which has been so carefully and beautifully prepared 
 by men of design and exceeding cunning in art. My 
 heroes and heroines will be with ye in the flesh, and 
 in their divers habits as they lived. 
 
 There shall ye see my fair Portia, in the Place of 
 Saint Mark, in the fair towne of Venice. She will be 
 attended by Nerissa and the gentle daughter of Shylock, 
 the Jew. Ye may also see her habited in the doctor's 
 robes, which she so cunningly used for the saving of 
 the merchant and to the great undoing of the vengeful 
 Jew. She will deal in various kinds of merchandise, 
 and will entreat ye to buy of the same liberallie, for 
 " 'Twere good ye do so much for Charitie." Ye will 
 also meet my lovely but unfortunate Juliet, in her fair 
 garden, looking over the Towne of Verona. In the 
 same garden is the porch of the house of the Capulet, 
 her father; above the said porch is the balcony ye wot 
 of, all beautifully wrought by the cunning artist. Should 
 ye wander into this garden, ye will meet the two great 
 ladies of the rival houses of Montague and Capulet ; 
 maybe also the ancient nurse and go-between the loves 
 of Romeo and the fair Capulet. 
 
 In close proximitie ye may walk into the streets of 
 London Towne, as it was when my "crook-back" 
 Richard limped on his secret visit to the Tower. Here 
 ye may see the old hill of Ludgate, the Fleet water, 
 and the tower and spire of the ancient Churche of 
 Sainte Paule. Strolling in these streets, ye may per- 
 chance meet the fair Lady Anne, the Duchess of York, 
 and divers other ladies of Regal and noble dignitie. Ye 
 know them well ; therefore of your charity buy their 
 wares. 
 
 Hard by the Capulet's garden is the ancient City of 
 
i88 An Architect's Experiences: 
 
 Angiers, and beneath its walls the French King's pa- 
 vilion. Here, once more, Elinor, the Queen Mother, 
 King John, Philip, the fair Blanch, and many others 
 assume their mortal shapes, as when Prince Arthur 
 and the Ladye Constance sued to them in vain. Ye 
 know the tale, 'twas wondrous pitiful; but now, their 
 stern alarums changed to merry meetings, to ye they 
 offer gentler recompense, with true effect of grace and 
 courtesie. 
 
 Turning the corner, the visitor will find the public 
 place of the German Towne, adjacent to the gate 
 thereof where my good Duke Vincentio dispensed the 
 justice, punished offenders, and won the pure and 
 thankful love of the fair Isabella. The gateway is 
 strong, and of good masonrie ; the portcullis is up, and 
 ye may view the Towne Street through the portal 
 thereof. Methinks ye may here encounter the Saintly 
 Isabel, the ill-used Mariana, together with waiting- 
 maids, and nuns of the convent where I found the 
 sister of Claudio in the novitiate state ; she will be in 
 her sacred garb, on her charitable mission intent, there- 
 fore give her welcome. 
 
 If my " Winter's Tale " live in your memories, turn 
 the corner and behold Hermione, standing in statuesque 
 grace, in the atrium of Paulina's house, in the classic 
 land of Sicilia. Through Doric columns you may see 
 hills covered with Temples, fair to see, of white marble, 
 glistening in the glorious sunshine. Let it not surprise 
 ye, if on this classic scene, ye behold the living forms 
 of Hermione and Paulina; so may ye also have friendly 
 intercourse with the youthful Perdita, attended by her 
 fair Shepherdesses. I affectionately commend them all to 
 your gentle and tender regard. 
 
Professional, Artistic, and Theatrical. i8g 
 
 Adjoining, and in immediate proximitie to the fair 
 Queen of the Adriatic, ye will find the stately Castle of 
 Elsinore, sleeping quietly in the moonlight ; whether 
 ye will meet my ill-starred Prince I know not, but 
 Queen Gertrude and the fair Ophelia with ladies of the 
 Court of Denmarke ye will encounter, truly a goodly 
 companie. 
 
 Then pass ye into the lovely garden of Signior Leonato, 
 overlooking the Towne of Messina, the glorious orb of 
 daj' sinking below the distant waters. Here ye will 
 meet my sprightly ■ Beatrice, the slandered Hero, ■ and 
 perchance the love-conquered Benedick, with many 
 others who had much to do in my Comedie of " Much 
 Adoe About Nothing," but which (my friend Ben 
 Jonson whispers in my ear) did not end in " Love's 
 Labour Lost." 
 
 Now turn ye towards the Great Organ, there shall 
 ye behold the Church of my Tomb, my humble birth- 
 place in the Street called Henley, in the aforesaid 
 Towne of Stratford by the Avon. Beneath again, ye 
 may see the " Garter Inn," where ye may enjoy good 
 cheer in the sweet companie of Mistress Page, Mistress 
 Ford, Ann Page, and Mistress Quickly. Perchance ye 
 may encounter a certain fat knight ; if so, give him 
 welcome and a cup of sack, for I loved him well and truly. 
 
 Ye may pass from the " Garter " into the " Pit of 
 Acheron," where ye will find the sisters, the Thane 
 of Cawdor's wife and Hecate. They will rehearse the 
 Cauldron Scene, with real " properties," which I con- 
 jure ye to obtain in memorie of your humble servant, 
 and for the good of suffering humanitie. 
 
 Before ye leave my mimic show, enter the fair 
 glades of my beloved Arden, commune with the gentle 
 
I go An Architect's Experiences: 
 
 Rosalind (the fair Ganymede), Phoebe, and Audrey. 
 A certain motley fool will vend his wares and make 
 ye glad with merrie jest. Mayhap ye may find me 
 also wandering with tottering steps, in the disguise of 
 my old Adam, whom I loved with an exceeding great 
 love. If chance carry ye in my way, ye will find me 
 walking on the outskirts of the forest, near the rural 
 home of my dear Anne Hathaway. 
 
 In order that all may be properly appointed, I have 
 deemed it right and wise to take my stand on the 
 cupola which crowns the architectural casket containing 
 my humble tragedies and comedies. I have deemed 
 it right and seemly to have this casket cunningly 
 made in the art of my time, which doth also testify 
 my love and loyaltie to the great Queen who deigned 
 to throw the light of her countenance on her humble 
 servant. 
 
 From this coign of vantage I shall view the drama 
 which will be enacted by my great and specially- 
 engaged companie; and it is my earnest prayer that 
 the grand Albert Theatre may be daily and nightly 
 filled with the good citizens of the ancient Towne of 
 London, for " Charity's sweet sake." 
 
 I am happy in the knowledge that Master Darby- 
 shire hath designed the Architectural Casket, and drawn 
 the Scenes and Costumes for my Companie, and when 
 my Showman, one Master Wood, who hath devised 
 and planned the Show, doth draw the curtain on the 
 Opening Day, I shall look down with pride and 
 exceeding joye ; and so commending me to your gentle 
 loves, I subscribe myself with all humility. 
 Your bounden Servante, 
 
 William Shakspear. 
 
Professional, Artistic, and Theatrical, 191 
 
 Special illustrations were done by John B. 
 Burgess, A.R.A., Randolph Caldecott, Walter 
 Crane, Geo. Cruickshank, Thos. Faed, R.A., 
 Luke Fildes, R.A., Harry Furniss, F. Goodall, 
 R.A., Mrs. Houghton, Wallis Mackay (" The 
 Captious Critic"), Phil Morris, A.R.A., Val C. 
 Prinsep, A.R.A., W. F. Yeames, R.A., J. D. 
 Watson, G. A. Storey, A.R.A., and many other 
 artists of repute. A song was written by Fred W. 
 Cowen, and a march was composed by Augustus 
 L. Taplin. 
 
 The " Show Book " was sold by young ladies, 
 habited in a dress such as was worn by 
 Elizabethan waiting women ; the book had an 
 immense sale. Mr. Punch's " Note-taker," who 
 was supposed to be accompanied through the 
 Hall by the Shade of Shakespeare, said of 
 it: — 
 
 "What hast thou in thy hand?" asked the 
 individual in costume. 
 
 " 'The Shakespeare Show Book,' " replied the 
 Note-taker, handing a handsome-looking oblong 
 volume (for which he had paid half-a-crown) to 
 his companion. 
 
 " A goodly tome," said the Elizabethan, 
 turning over the leaves, " the pictures please me 
 much." From what followed, it was evident the 
 shade of the immortal one did not think much 
 of some of the poetic efforts. 
 
 The Royal Jubilee Exhibition, Manchester, 
 
192 An Architect's Experiences: 
 
 was a remarkable event of 1887 ; and was held 
 on the same site as the ever-memorable Art 
 Treasures Exhibition of 1857. In the autumn 
 of 1886, whilst on a visit to my old friend, 
 Vernon Cochrane, in County Sligo, I received 
 an intimation from my partner, F. Bennett Smith, 
 that the Executive Committee wished to consult 
 us on the "Old Manchester" section of the 
 forthcoming Exhibition. After the preliminaries 
 were arranged, I found myself face to face with 
 the solution of an artistic problem of considerable 
 magnitude, involving archseological knowledge 
 and much antiquarian research. Moreover, as 
 the "Show" was to be an outside one, I had 
 to grapple with constructive points not hitherto 
 experienced in the bazaar towns I have spoken 
 of as erected inside buildings. " Old Manchester 
 and Salford " was erected in the open air, 
 and in the beautiful grounds attached to the 
 Exhibition buildings. The idea was not a new 
 one: "Old London" had already been realised 
 at one of the Kensington Exhibitions. We were 
 instructed to surpass any previous efforts in this 
 direction, and I entered on the work with 
 enthusiasm. 
 
 The question has often been asked : how was 
 this work designed, and by what modus operandi 
 was it accomplished ? It is difficult to answer 
 this enquiry in a popular manner, or to avoid 
 technicalities in the description of a work of 
 
Professional, Artistic, and Theatrical. 193 
 
 this kind. Having made models of stage scenery 
 for the Calvert Shakespearian Revivals where 
 architecture was concerned, I determined to adopt 
 the same method, and made a cardboard model of 
 "Old Manchester and Salford " to a scale, from 
 which the contractors could work, and from 
 which the artists could reproduce the correct 
 colour scheme and artistic effect. 
 
 After the plan of the town had been arranged, 
 and the old buildings fixed upon for reproduc- 
 tion (a work involving much research) each block 
 or group of buildings was modelled in cardboard, 
 carefully coloured, and then placed in position 
 till the whole town was built up, and ready for 
 the constructive portion of the work. A permanent 
 model was made in plaster, in order to allow the 
 cardboard model to be taken to pieces. Upon 
 these pieces the constructive framework was drawn 
 for the instruction of the builders. When this 
 mass of framework was in position, the town 
 presented a curious sight, and a perfect forest 
 of timber met the eye. On this timber con- 
 struction were fixed thin slabs of fibrous plaster, 
 the portions in relief being , carefully modelled 
 from the old examples. A white, wintry appear- 
 ance was the effect of this operation, and the 
 old town looked like a miniature city of snow. 
 On this white surface followed the magic brush 
 of the artist, Mr. Walter Hann, each block being 
 painted from the model in plaster. By this 
 
194 ^'"' Architect's Experiences: 
 
 process the tout ensemble was reached, and the 
 work brought to a successful conclusion. 
 
 At the request of the Exhibition Committee 
 I wrote a detailed description (with illustrations) 
 of our work; and "The Booke of Olde Man- 
 chester and Salford " became part of the litera- 
 ture of the Jubilee Exhibition of 1887. I will 
 therefore briefly state in these pages the main 
 features of the undertaking. 
 
 It occurred to me that in this mimic old town 
 of Manchester, it would be interesting to realise 
 the features of its architecture, from the Roman 
 occupation about the time of Agricola down to 
 the latter period of the Georgian Era. The 
 visitor therefore entered the town through the 
 Porta Decumana of ancient Mancunium, guarded 
 by Roman sentinels. I was fortunate in finding 
 my authority for this reproduction in the Harl. 
 MSS. in the British Museum. The rest of the 
 work was produced from known authorities, repre- 
 senting the period of Edwardian Gothic, the 
 timber structures of the Tudor times, and the 
 brick and stone buildings of the Georgian Era. 
 The streets had their quaint shops ; the shop- 
 keepers were habited in the correct costumes 
 appropriate to the architectural period of the 
 buildings in which they carried on their various 
 trades and handicrafts. The stocks, conduits, 
 pillory, and hanging lamps were carefully repro- 
 duced ; the proclamations of the Boroughreeves, 
 
Professional, Artistic, and Theatrical. 195 
 
 and the Theatre Bills were carefully reprinted 
 and posted in the streets, illustrating points of 
 interest in the history of the ancient Borough of 
 Manchester. The success of this reproduction 
 was unique in the history of outside " Shows." 
 From the memorable opening day on the 3rd of 
 May to the close of the Exhibition the streets 
 of the old town were crowded day and night, and 
 a sum of nearly ^1,500 was taken in coppers for 
 the pleasure of ascending the old Parish Church 
 tower, which was reproduced nearly actual size. 
 
 The opening ceremony was a memorable occa- 
 sion. After presentation to the Prince and 
 Princess of Wales, it was my duty to conduct 
 the Royal party, accompanied by their host and 
 hostess. Lord and Lady Egerton of Tatton, over 
 the " Old Manchester and Salford." This was 
 a pleasant episode, and my memory recalls an 
 incident, which at this time of writing has a 
 melancholy interest. After completing the survey 
 of the old town the late Lord Leighton told me in 
 words which I cannot forget, how much he appre- 
 ciated my work. Lancashire men are practical ; 
 their approval of a work they have to pay for 
 is rarely expressed, and they seldom indulge in 
 enthusiastic commendation ; therefore it was with 
 pride and satisfaction that I received enthusiastic 
 commendation from the very "head and front" 
 of English art; and strange tale to tell, almost on 
 the very spot where, 30 years before, as a young 
 
ig6 An Architect's Experiences: 
 
 art student, I had stood and gazed admiringly 
 on Leighton's early pictorial effort, " Cimabue's 
 Madonna carried through the Streets of Florence." 
 The appreciation of the antiquarian and ar- 
 tistic worlds with regard to our work was very 
 pleasant. The illustrated newspapers sent their 
 artists to sketch the queer old streets, buildings, 
 and costumes ; the pencils of Herbert Railton, 
 John Jellicoe, Hal Hurst, Raffles Davison, and 
 Mrs. Houghton found plenty of material. My 
 old friend Railton thoroughly enjoyed the work; 
 himself an architect by profession, he realised 
 all the points of interest, and his artistic pencil 
 could hardly keep pace with his desire to secure a 
 record of the picturesque features of the " Show." 
 I recollect an amusing incident occurred in rela- 
 tion to his large drawing (a view looking down 
 the main street), which must be recorded. "He 
 had finished and despatched his drawings for 
 the Graphic, when he and Jellicoe set to work 
 in collaboration on a double-page illustration for 
 the Sporting and Dramatic News. Railton's por- 
 tion of the Avork was completed in his best 
 manner ; the two artists were invited to meet 
 a notability in a neighbouring town, and they 
 took the drawing with them to discuss its com- 
 pletion on their journey. On the Monday 
 morning following this visit I met Railton, and 
 saw at once by the "dejected haviour of his 
 visage" that something was wrong. They had 
 
Professional, Artistic, and Theatrical. 197 
 
 lost the drawing on the journey. Nothing could 
 be heard of it ; the person who had found it 
 knew he had got something worth keeping, and 
 accordingly stuck to it. There was some humour 
 in the situation, and I quoted Charles Keene's 
 memorable drawing in Punch, representing a 
 volunteer who had not only lost his ticket, but 
 the big drum also. Of course, I did not even 
 hint that the cause of the loss was the same 
 in both cases. The drawing was due in London 
 the following morning ; a new one was started, 
 and Jellicoe got in his figure groups in a masterly 
 manner. The picture was despatched by the 
 night mail, and was reproduced the same week. 
 Notwithstanding the pecuhar conditions under 
 which this piece of journalistic illustration was 
 achieved, I doubt whether these two distin- 
 guished artists have ever excelled this work. 
 It may be regarded as a typical example of 
 artistic collaboration. 
 
 The Manchester Jubilee Exhibition was a 
 great success, both financially and artistically. 
 I experience some satisfaction in the knowledge 
 that "Old Manchester" and Salford was an im- 
 portant factor in a result achieved by the pluck 
 and determination of the men who conceived 
 and carried out the undertaking, in commemo- 
 ration of the half-century reign of our Gracious 
 Sovereign Lady Queen Victoria. 
 
 When engaged upon the work of the great 
 
igS An Architect's Experiences: 
 
 "German Town" Bazaar, held in the St. James's 
 Hall, Manchester, I made the acquaintance of 
 the owner of the building, Mr. James Reilly. 
 Although the general public outside Manchester 
 and the district might not know of his existence, 
 he was well known to the fraternity of " show- 
 men," and his peculiar individuality was familiar 
 with the community in which he lived. He was 
 Irish by birth, short and rotund in figure ; he 
 had little education, but he was a shrewd and 
 energetic business man. His business was that 
 of a chairmaker on a wholesale scale : this busi- 
 ness he carried on at the Globe Mahogany 
 Chair Works, at Cornbrook, Manchester. On 
 the adjacent land he created the well-known 
 Pomona Gardens, in which he built a fine con- 
 cert and dancing hall ; wherein, also, were held 
 immense political meetings, at which the leading 
 statesmen of our time poured forth their elo- 
 quence on stirring events of the day. In the 
 same grounds he erected the immense Agricul- 
 tural Hall, in which the great horse shows were 
 held, and where exhibitions of various kinds were 
 housed, requiring a large covered area. At this 
 time the site of Pomona Gardens is occupied 
 by the Ship Canal Docks ; the huge glass 
 palaces have disappeared, and their places are 
 occupied by the steamships of commerce, un- 
 loading their cargoes from distant lands. 
 
 Reilly was wise in his generation : he antici- 
 
Professional, Artistic, and Theatrical. igg 
 
 pated the coming change in his Pomona pro- 
 perty by erecting the great St. James's Hall 
 in the heart of the city. Here, also, have been 
 held great political meetings, bazaars, and exhi- 
 bitions of various kinds. After the success of 
 the "German Town" Bazaar, Reilly conceived 
 the idea that I might get up a Fine Art and 
 Industrial Exhibition. I hesitated for some time, 
 but ultimately decided to make the attempt. 
 This work was destined to bring me into con- 
 tact with persons of consequence and with 
 representative men. I therefore place the event 
 on record in these pages. 
 
 After consultation with Ford Madox-Brown, 
 I determined to secure the goodwill and interest 
 of the late William Morris, as a lever where- 
 with to raise the fabric of this Art Exhibition. 
 Thus came about my acquaintance with this 
 distinguished man ; and my knowledge of the 
 men who were originating and developing design 
 and elevating handicraft was completed in this 
 fortunate contact with the author of " The 
 Earthly Paradise." 
 
 I started the undertaking with a hst of dis- 
 tinguished patrons : the late Earl of Wilton 
 acted as president, and took a keen interest in 
 the work. On it becoming known that the firm 
 of Morris & Co. were interested in the Exhi- 
 bition, I had no difficulty in persuading the 
 leading art firms in the country to contribute 
 
200 An Architect's Experiences: 
 
 examples of their work. The late Duke of 
 Albany and other members of the Royal Family 
 took a great interest in the establishment of 
 the Royal Tapestry Works at Windsor. I 
 visited Windsor, and was successful in obtaining 
 a fine set of examples then being made for 
 Mr. Vanderbilt, the American capitalist. In 
 this Exhibition all the fine and industrial arts 
 were represented, and by the best known artists 
 in their respective work. The North of England 
 had thus an opportunity of seeing the progress 
 and development of the industrial arts in the 
 Victorian age. 
 
 This Exhibition was opened by the Earl of 
 Wilton on October 20th, 1882. The luncheon 
 was an interesting event, over which Lord Wilton 
 presided. The guests included the Countess of 
 Wilton, Mr. Woodall, M.P., Sir Henry Rosaoe, 
 William Morris, and other well-known persons. 
 After the preliminary toasts proposed by the 
 President, Mr. Woodall (a member of the Royal 
 Commission on Technical Education) proposed 
 " English Decorative Art," coupled with the 
 name of William Morris. 
 
 *^ The speech made in response by the poet, 
 artist, and decorator has always seemed to me 
 a most important utterance, and worthy of record. 
 I shall, therefore, include it in these pages. Mr. 
 Morris said : — • 
 
 I think we may without rashness congratulate ourselves on the 
 
Professional, Artistic, and Theatrical. 201 
 
 progress made in decorative art of late years. I should be loth to 
 speak slightingly of any of the brotherhood to which I belong, past 
 or present. (Laughter.) But the plain fact is, that some twenty- 
 five years ago these arts of mere decorations were in such a state 
 that one is bound to say that they looked as if they were coming 
 to an end ; of the traditional part of them there was, in England 
 at least, scarce any more left than there is now, i.e., nothing. 
 On the more obvious and self-conscious side there was nothing 
 stirring. What individual talent was left could only show itself in 
 eccentricities that most often deserved to be called b}' any other 
 name rather than decoration. The public was as blankly ignorant 
 of the history of the art as the designers were of its first prin- 
 ciples. The contempt with which the whole subject was treated 
 in those days is shown pretty clearly by the law which relates to 
 the copyright in industrial designs, which, strange to say, is to this 
 day all the protection accorded to them. The framers of that law 
 doubtless wished to secure to manufacturers all reasonable advan- 
 tages for those designs which they had paid for or invented ; yet 
 to this day it is only possible to protect such designs for three 
 years. Three years seemed at the time when that law was made 
 ample time for a manufacturer to reap all reasonable advantages 
 from any design he might produce. I don't think I need make 
 much comment on that. Well, really, I must say that twenty-five 
 years ago it did not much matter whose design you got hold of. 
 (Laughter.) They were all much the same, and did little but 
 spoil the materials out of which they were made. (Laughter.) 
 I well remember when I was first setting up house, twenty-three 
 years ago, and two or three other friends of mine were in the 
 same plight, what a rummage there used to be for anything 
 tolerable in the way of hangings, for instance, and what shouts 
 of joy would be raised if we had the luck to dig up some cheapish 
 commonplace manufacture, which, being outside the range of fancy 
 goods, had escaped the general influence of the vacuity of the times. 
 (Applause.) On the whole, I remember that we had to fall back 
 upon turkey-red cotton and dark-blue serge, since even the very 
 self-colours of fancy goods had grown to be impossible, which is 
 the more inexcusable as at that time the beneficent march of science 
 and commerce had not yet destroyed the ancient and worthy tradi- 
 tions of the craft of dyeing, as it has since done. (Applause.) My 
 
202 An Architect's Experiences: 
 
 lord, this last sentence shows itself to me lilce the skeleton at the 
 Egyptian feast, and reminds me that I have something else to say 
 than self-satisfied triumph over our advance on the blank nothing- 
 ness of the first half of the century. Yet, certainly that advance 
 has been made ; a reaction from ugliness to beauty has touched at 
 least some part of the people who live among civilisation, and in 
 what we technically call the decorative arts this new Renaissance 
 has been helped in this country by many agencies, not least among 
 which has been the steady endeavour on the part of the Depart- 
 ment for Science and Art to spread artistic education among the 
 public in general. Some of the results of this new Renaissance 
 are now before the people of this great city, and I think I may say 
 that they very fairly represent what has been done in the arts of 
 decoration since the change I have been speaking of took place ; 
 nor am I ashamed, in the name of my brethren in the craft, in the 
 first place, to beg some tenderness from the public for our short- 
 comings, considering the difficulties we have had to fight against ; 
 and, in the second place, to remind them that things have changed, 
 that no young housekeeper need now take so much pains for such 
 a scanty result as I had to do in 1859; that anyone can now find in 
 shops all over the country goods at commonplace prices which both 
 intend to be and are beautiful, and more or less marked by artistic 
 individuality ; that, in short, anyone who chooses can make the 
 interior of his house comely and pleasant without an unreasonable 
 expenditure of time and trouble. (Applause.) Now, I will not ask 
 my craft-brethren to be content with my using no greater words in 
 praise of our noble selves than these, which, after all, do seem to 
 me to imply great encouragement to us all, for something more I 
 have to say before I sit down. I am always asking myself is this 
 apparent success real — is this seeming advance of a quarter of a 
 century going somewhere or nowhere ? That is a serious question, 
 to which it is impossible to answer ay or no. But, after all, to us 
 as practical people it does not matter much whether it can be 
 answered directly always, so long as we see clearly what are the 
 conditions of the health or disease, the life or death of our art. 
 In short, so long as we can see what work is immediately ahead 
 of us to maintain our art in a hopeful state. Now, to my mind, it 
 is not so very difficult to see this. Firstly, we have, to put the 
 matter in its simplest form, to interest the whole pubhc in the 
 
Professional, Artistic, and Theatrical. 203 
 
 work. Firstly, and indeed lastly, there is nothing else for us to 
 do. That once done, the whole public will see to this matter. 
 Well, that is easy to say and very hard to do ; short to say and 
 very long to do, and yet we must set to work about it, unless we 
 aesthetic upholsterers — (laughter) — are content to be what I am 
 afraid many people think us — contemptible waiters — (laughter) — or 
 mere pleasure-seekers and triflers with life. For in truth, these 
 decorative arts, when they are genuine, real from the root up, have 
 one claim to be considered serious matters which even the greater 
 arts do in a way lack, and this claim is that they are the direct 
 expression of the thoughts and aspirations of the mass of the 
 people — (applause) — and I assert that the higher class of artist, 
 the individual artist, he whose work is, as it were, a world in 
 itself, cannot live healthily and happily without the lower kind of 
 art — if we must call it lower — the kind which we may think of as 
 co-operative art, and which, when it is genuine, gives your great 
 man, be he never so great, the peaceful and beautiful surroundings, 
 and the sympathetic audience which he justly thinks he has a right 
 to. If you compel a Michael Angelo to live in a world of dullards 
 and blunderers, what can happen to him but to waste his life in 
 ceaseless indignant protest, till his art fades out in sour despon- 
 dency, and his whole career has turned out a useless martyrdom ? 
 (Applause.) Great minds need no slaves to rule over, but rather 
 fellow-workmen whom they can help and be helped by. So I say 
 that the decorative arts are as necessary to our life as civilised 
 men — nay, as men, as the more strictly intellectual arts are, and 
 that that which has become our end and aim, to wit, the new birth 
 of popular art, as on the one hand it is a most arduous, so on 
 the other it is a most worthy undertaking. Such great works 
 both make the utmost courage necessary, and inspire us with the 
 necessar\- courage for carrying them out. Striving to arm myself 
 with that courage, I will venture still to try to tell you what 
 seem to me the chief difficulties that we have to face in our 
 undertaking, and will beg you also to be courageous in listening 
 to my few last words, since courage, as you well know, is the 
 very mother of kindness and good-nature. Well, once for all, 
 I am afraid I must admit that the public in general are not 
 touched at all by any interest for decorative art; a few of the 
 upper and middle classes only have as much as heard that 
 
204 ''^'^ Architect's Experiences: 
 
 there is such a thing as decorative, which should be popular, 
 art. How could it be otherwise ? Consider : that lapse of all 
 the arts of decoration that I began by speaking of, and which 
 got to such a pitch at last that it became unbearable to some of 
 the cultivated part of our population — this paralysis of the art 
 was brought about by commerce (so called) forbidding the exer- 
 cise of art as an essential part of manufactured wares. Time 
 was when all manufactured wares had some claim to beauty ; 
 and, other things being equal, the most beautiful thing was the 
 most marketable. I fear we cannot say that this is the case 
 now. Pray excuse me for drawing an illustration from a very 
 interesting and useful class of goods to which we are none of us 
 strangers — printed cottons. If you turn over the pattern-books 
 of this or that cotton printer in this city, you will iind many 
 patterns which are exceedingly pretty, while some of them are 
 exceedingly — well, ugly, as, I am sure, the gentleman who prints 
 them will admit. Now, having the honour of the acquaintance 
 of a cotton printer in this city, I am able to say that, so far as 
 I could understand, the ugly patterns sell quite as well as the 
 pretty ones. (Laughter.) Now, you know, if the decorative arts 
 were in a healthy condition, instinctive good taste would refuse 
 the ugly patterns and demand the pretty ones ; and so prevent 
 what I must consider a degrading waste of money, time, and 
 intelligence ; for what in its way can be more wasteful than using 
 all the accumulated knowledge and skill of centuries in spoiling 
 the fair white surface of a piece of cloth by putting a pattern on 
 it which you know to be ugly ? (Laughter and " Hear, hear.") 
 And in like manner it fares with all the other industrial arts. 
 If a manufacturer determines to be also somewhat of an artist 
 (as he most certainly should be), and to turn out nothing but 
 what may do credit to his own reason and intellect, he must 
 also make up his mind to give up a great part, probablj' the 
 greatest part, of his business. And I will say at once, before I 
 go further, that if a good few of our makers of common wares 
 were so much touched by the importance of the decorative arts 
 of England as to do this, it would make a new era in that 
 advance of the art which I have been speaking of; and if we 
 could add to such a sacrifice of apparent welfare an ob\'ious and 
 lively interest on the part of the public in the processes and 
 
Professional, Artistic, and Theatrical. 205 
 
 methods of the art, I do think we should be nearing our goal. 
 For at present the divorce of commercial manufacture from art 
 has made the public bad marketers ; too often they don't know 
 what they are buying. Often I have had it said to me when 
 I have been showing my friends some process of designing or 
 making a piece of goods : " Dear me, I had no idea that all that 
 trouble was necessary." In short, it seems to be generally believed 
 by a people, to my mind somewhat overdone by machinery, that 
 works of minor art can be and are turned out like the sausages 
 in the mythical Yankee machine — live pig at one end, sausages 
 at the other. (Laughter.) Whereas, in truth, every work of art, 
 however humble, as on the one hand there has gone to make it 
 real human pleasure of body and mind, so on the other every 
 stage of its making has been attended by painful care, anxiety, 
 and chance of failure. And this it is, this play of hope and fear, 
 joy and sorrow, over it which makes it what we call a work of 
 art : indeed, we may call it a work of nature also. That word 
 " nature " reminds me that I have still something to say to you, 
 if I do not weary you overmuch. The divorce of commerce from 
 art has been wasteful of more than the works of man's industry, 
 and in many places — and, I must say, nowhere more than in 
 South Lancashire — has made the advice which we must always 
 give to all students of art — to go to nature — somewhat of a 
 mockery. Believe me, I do not speak of this or any other evil 
 wantonly, but with the hope of, in my small way, encouraging 
 those who are fighting against it. And, indeed, iight against this 
 evil we must, if we are to have decorative or any other art for 
 long. The choice lies before us : which will you have — art or 
 dirt ? In the long-run I believe you will find art the cheaper of 
 the two commodities; for, if we choose dirt, we shall make 
 England — all of it, sooner or later — what it was not meant to be, 
 an uncomfortable country ; and discomfort breeds discontent, and 
 discontent — what will that bring forth in this land of stout- 
 hearted men ? This is far from being beside the question : it is 
 English decorative art I am speaking of, and can we forget what 
 the country is like which bred that art as it once was, which 
 has made an ancient Enghsh house, for all its simplicity and 
 rudeness, the loveUest of the habitations of man ? Surely my 
 voice is speaking the thoughts of many people when I plead with 
 
2o6 An Architect's Experiences: 
 
 the mighty and overwhelming commerce of England to spare 
 the source from which all English art has sprung, what is left us 
 of the land of England, with all its growth of familiar beauty, 
 sweetened, every acre of it, with the memories of the men that 
 made us. (Applause.) When that plea is listened to, and we 
 make up our minds (first) to keep all we have left us of fair and 
 unspoiled country and dwellings, and (second) to replace what 
 we have lost by a reasonable and living art which shall really 
 express our lives and their aspirations — I say, when we have 
 made up our minds to do this, then is all gained. Nature, which 
 has covered with her kind hand the battle-fields of the Edwards 
 and Henrys and Charleses, will in one way or other, when we 
 call upon her, do no less for the battle-fields of commerce. Our 
 scientific men — who to me, an outsider, seem able to do anything 
 they care to do — will have shown us the right use of carbon and 
 sulphuric acid, and the sun will shine as brightly through the 
 boughs outside the factory windows in Lancashire as it does 
 through the Kentish hop garden. (Applause.) I think these 
 days will come, wild as the prophecy seems. We shall not see 
 them. Who cares ? since we amongst others shall have worked 
 to bring them about. Nor will anybody in those days need to 
 talk about English decorative art, for every one will have it 
 ready to his hand, like the company of a friend with whom* one 
 can talk if one wills, or be silent with if one pleases ; so restful, 
 so familiar shall it be. 
 
 The success of this Art and Industrial Exhi- 
 bition was complete. Not only was it financially 
 successful, but it helped to increase an appre- 
 ciation of the beautiful in the surroundings of 
 home life. Towards the close of the Exhibition I 
 persuaded Mr. Reilly to open it on one Sunday, 
 as an experiment to test what amount of appre- 
 ciation existed in the minds of the masses for art, 
 and for things of beauty. I shall never forget 
 the result of this experiment. We had not made 
 
Professional, Artistic, and Theatrical. 207 
 
 any preparation for a crowd, and had taken no 
 precaution for the protection of the beautiful and 
 breakable things exhibited. I remember it was 
 a cold, miserable wintry afternoon; but when the 
 doors had been open about two hours the turn- 
 stiles recorded the passage of fourteen thousand 
 people into the great Hall. I was alarmed for 
 the safety of the exhibits, and the President of 
 the Manchester Academy of Arts and other artist 
 friends constituted themselves into a sort of police 
 force, and delivered explanatory lectures to the 
 interested crowds. When the Hall was finally 
 cleared, it was found that not a thing was injured 
 and not an article disturbed. I was mightily 
 proud of Lancashire folk on that Sabbath day. 
 The whole event was a splendid argument in 
 favour of the Sunday opening of museums and 
 picture galleries. 
 
 I have occupied so much space with a reference 
 to this Exhibition, that I shall simply record the 
 fact that I was induced to organise another in 
 the following year devoted to the " Building 
 Trades." This Exhibition was opened on the 
 loth of July by the Mayor of Manchester, Mr. 
 Alderman John Hopkinson. Another success was 
 achieved, and I resolved to retire from this class 
 of work, which involved much responsibility and 
 a large expenditure of time. 
 
2o8 An Architect's Experiences: 
 
 CHAPTER XVII. 
 
 "T"\7'HY, you are historic!" 
 
 * ' Thus exclaimed Herman Merivale at 
 a festive gathering, where the Drama was the 
 subject of conversation. 
 
 "You were Irving's first Polonius, and Helen 
 Faucit's last Jaques ! " 
 
 Such an idea of my histrionic importance had 
 never occurred to me ; but when the point came 
 to be argued, this statement of the distinguished 
 dramatist turned out to be nearly the fact. When 
 Sir Henry Irving was a stock actor at the Theatre 
 Royal, Manchester, he once tried "Hamlet" for 
 his benefit ; and I think on that occasion Everill 
 was the Polonius. When, however, he played the 
 Royal Prince of Denmark a second time seriously, 
 and after much study, I had the honour of playing 
 the old courtier. This was on the occasion of his 
 taking leave of Lancashire, in 1865. 
 
 The last appearance on the stage of Lady 
 Martin (Helen Faucit) took place at the Calvert 
 Memorial Performances at the Manchester Theatre 
 
Professional, Artistic, and Theatrical. 209 
 
 Royal, in 1879. On this occasion I had the 
 honour of playing the " Melancholy Jaques " from 
 her own " prompt " book of the play. I shall have 
 much to say of this event later on. It was a 
 memorable episode. 
 
 I am not quite clear how it was that I developed 
 a taste for poetry, and the poetic drama ; but I 
 think I must have inherited it from the maternal 
 side of our house, as I remember when quite 
 young hearing my mother quote from Shakespeare, 
 Scott, Cowper, Byron, and other well-known 
 authors. I cultivated a taste for reading and 
 reciting at the Alderley Academy where my scho- 
 lastic education ended. This fancy was fostered, 
 curiously enough, by association with two persons 
 who happened to be in the office in which I 
 commenced my studies in the architectural pro- 
 fession. One was the old assistant I have alluded 
 to as " Tom Pinch," and the other was my fellow- 
 pupil of the name of Hodgkinson. This young 
 gentleman was absolutely "stage-struck," and his 
 histrionic vagaries were amusing, and sometimes 
 extraordinary. In personal appearance he was 
 thin and gaunt-looking, with large protruding 
 eyes; he had a pecuhar way of standing "at 
 ease," after the manner of Macready. His vanity 
 was so extreme that he hired the old Library 
 Hall at the Athenaeum, placarded the walls of the 
 town with posters, announcing his appearance as 
 a Shakespearian reciter under a high-sounding 
 
 p 
 
210 An Architect's Experiences: 
 
 name which I have forgotten. The event I shall 
 never forget. My part in the transaction was to 
 stand at the door, collect the money, and sell 
 programmes. I recollect I stood there like the 
 Roman sentinel, "faithful unto death," waiting 
 for the audience to arrive. The audience did 
 arrive a few minutes before starting time, to the 
 number of six or seven. The ambitious young 
 man went through his performance, but for the 
 second part the audience did not return, having 
 taken advantage of the interval to effect an escape. 
 The result of this affair was artistic failure and 
 financial disaster. 
 
 There is still a portion of the Manchester 
 Theatre Royal devoted to a hotel, and at the 
 time I am writing of — viz., the late "fifties" — 
 it was the haunt of the great "star" actors 
 visiting the town, and of the stock company, 
 under Mr. John Knowles's management, at the 
 Theatre. There were no luxurious clubs like 
 the Brasenose and Arts in those days, where 
 actors are now honourably entertained ; but this 
 Theatre Royal Hotel, or " Cox's," as it was 
 familiarly called, was the rendezvous of the 
 profession. It was here that I came to know 
 Barry Sullivan, Walter Montgomery, Vandenhoff, 
 Charles Dillon, and other exponents of the "high 
 and palmy " school of acting. Here, also, I 
 came in contact with Henry Irving, Sinclair, 
 Shickle, Glenny, Bickerstaff, Everill, Bielby Lee — 
 
Professional, Artistic, and Theatrical. 211 
 
 the fine amateur and courteous gentleman — and 
 many others of that clever band of stock actors, 
 scenic artists, and musicians who were destined 
 to expound their art on new lines on the decay 
 of that of the old school. At this inn I was 
 destined to meet Charles Alexander Calvert 
 (then manager of the Royal), and to enter upon 
 one of the dearest friendships of my life. Often 
 as I pass this hotel I picture the white-haired, 
 venerable "Old Cox" in the midst of his theatrical 
 guests: I fancy I can hear the merry jest and 
 the stage anecdote. I think of the devilled 
 kidneys, the foaming stout, and other simple 
 fare wherewith histrionic genius regaled itself. 
 All is now changed: that "goodly companie " 
 is dispersed, and, so far as my knowledge goes, 
 Sir Henry Irving is the only survivor, as he is 
 the greatest actor of the Victorian Era. 
 
 In the year 1861 was established what was 
 called the Manchester Engineer Volunteer Corps, 
 composed of architects, artists, surveyors, and 
 civil engineers. The men, I remember, were 
 dressed in scarlet Garibaldi shirts and smart 
 scarlet caps, decorated with, gold braid. The 
 corps first appeared in public in regimental order 
 at the review of volunteers on Newton Race- 
 course, before Sir George Wetherall and staff. 
 This little band of citizen soldiers needed funds 
 for its maintenance and efficiency. By way of 
 raising these funds a grand amateur performance 
 
212 An Architect's Experiences: 
 
 was arranged for, under distinguished patronage. 
 This dramatic event took place at the Theatre 
 Royal on the nth of November, 1861. Charles 
 Calvert managed the stage for the amateurs, and 
 during the rehearsals I came closely in contact 
 with him ; and thus a life-long friendship was 
 commenced. I shall have more to say here- 
 after of my intimate association with Calvert 
 during his memorable management of the Prince's 
 Theatre, which became the recognised home of 
 Shakespearian productions. 
 
 There were some curious incidents in connec- 
 tion with this amateur performance. The bill 
 consisted of "As You Like It" and "High 
 Life Below Stairs." I had rehearsed the part 
 of Jaques twice, when the fact became known 
 to the Society of Friends, to which religious 
 body I then belonged, and I was threatened 
 with all sorts of terrible things if I persisted in 
 play-acting, and for encouraging the idea of war. 
 I saw my mistake, and retired from active par- 
 ticipation in the movement. Being young and 
 thoughtless, I was forgiven, both by the Society 
 and by my parents. This play-acting, however, 
 was destined in after years to be the means in 
 some measure of my expulsion from the Society 
 of Friends, and of which event I shall have 
 something to say in its proper place. 
 
 I doubt whether any of the gentlemen who 
 took part in the performance had ever faced the 
 
Professional, Artistic, and Theatrical. 213 
 
 glare of the footlights ; but, as usual with ama- 
 teurs, they thought they knew all about it. 
 Although the financial result was excellent, the 
 artistic result was something dreadful. "As You 
 Like It " was pulled through by such clever and 
 experienced actresses as Mrs. Charles Calvert, 
 Miss Lucy Rushton, Mrs. Bickerstaff, and Mrs. 
 Raymond ; but the farce was worthy of its title, 
 and was played — anyhow. Arthur Marsh, now 
 the well-known artist, plcLyed the coachman, and 
 when he and Tom had their drinking scen^ 
 together. Marsh's wig would slide ofif; his frantic 
 efforts to keep it on plunged the house into 
 roars of laughter, and when he uttered the 
 words, "We got drunk together, let's go bed 
 t'gether," it slipped ofif on to the table. A 
 scene of uproarious merriment both in the house 
 and on the stage was the result, and " High 
 Life Below Stairs" concluded in dire confusion. 
 So ended the first amateur performance with 
 which I was associated. 
 
 Having in the year 1862 affixed a brass plate 
 to a doorpost in St. James's Square, Manchester, 
 on which I intimated to the British public that I 
 was an architect, I devoted that and the following 
 year to matters professional ; but in the next year, 
 1864, I found myself once more in the theatrical 
 arena. This year was memorable as marking 
 the three hundredth anniversary of the birth of 
 our immortal Shakespeare. Along with a band 
 
214 ^'* Architect's Experiences: 
 
 of young enthusiasts, I plunged heartily into a 
 scheme for an amateur performance in celebration 
 of the occasion. The head and front of this 
 undertaking was the late J. M. Whitehead, a 
 solicitor, of Bury, in Lancashire. He was an 
 admirable actor, and shortly afterwards embraced 
 the Stage professionally, starting with a company 
 of his own, travelling through the country and 
 passing through the usual vicissitudes of theatrical 
 enterprise. He ultimately abandoned the venture, 
 and returned a wiser and a sadder man to the 
 realm of the Law. It was decided that our 
 Tercentenary Performance should take place in 
 Bury; our enthusiastic manager secured the large 
 hall of the Athenseum, painted special scenery, 
 engaged the professional ladies, and advertised 
 on a great scale. His method of advertising had 
 some original features about it. Beside the* usual 
 "posters," "double royals," and ordinary bills, 
 he had small slips printed about three inches 
 long by one inch wide, with prepared gum backs. 
 For weeks before the event every lamp post, stump, 
 or pump in the town and vicinity for miles around, 
 was decorated with one of these slips, with the 
 simple announcement thereon : " ' As You Like 
 It,' 'Taming of a Shrew,' April 23rd." I heard 
 on gopd authority that if a client set down his 
 hat in the office he was certain to go out. with 
 one of these little labels stuck on the lining ; they 
 were found in all sorts of queer places, and 
 
Professional, Artistic, and Theatrical. 215 
 
 aroused universal curiosity. As time went on the 
 secret was divulged by wall-posting and news- 
 paper announcements, and as a result the scene 
 on the night of performance was one of wild ex- 
 citement. The whole area of the Hall was occu- 
 pied by a full-dress audience, and thousands were 
 scrambling, fighting, and yelling in the streets for 
 admission to the cheap parts of the house. An 
 attempt was made to scale the walls and enter 
 by the windows of the large Hall ; this was 
 stopped by the police ; the performance was 
 repeated on the following night (Saturday), or 
 the event might have ended in disaster. 
 
 This being the first occasion on which I faced 
 the glare of the footlights, and a sea of upturned 
 faces, I often wonder how it was that I did not 
 take "stage fright" and fly ignominiously from 
 the scene. To make matters more serious, I was 
 told off to recite Hogg's celebrated " Invocation 
 to the Spirit of Shakespeare." I shall never 
 forget the sensation when the curtain rose, dis- 
 playing the whole company standing in front of 
 a beautifully painted "cloth" of the Birthplace 
 at Stratford-on-Avon. The sound of my own 
 voice was strange to me when I stepped in front 
 and burst forth with 
 
 " Spirit all limitless," &c. 
 I remember I seemed in a dream ; and when the 
 poem was completed and the curtain dropped 
 amid a round of applause, I fairly bolted to 
 
2i6 An Architect's Experiences: 
 
 my dressing-room ; here I was followed by the 
 manager^ who dragged me back again to the 
 stage, to answer a clamorous call from the 
 audience ; and we all bowed our acknowledg- 
 ments. I also remember a kind of dazed feeling 
 that came over me when at the end of the "Seven 
 Age" speech; nothing could be done for two or 
 three minutes on account of the applause from 
 the vast audience. I happened to catch a sight 
 of the manager gesticulating fiercely at the wing. 
 I could not understand the situation, but, losing 
 all patience at my amateur ignorance, he shouted 
 
 out, " Why the don't you bow to the 
 
 audience ? " I bowed, the noise ceased, and the 
 play was allowed to proceed. 
 
 This was my first attempt at acting ; but, 
 strange to say, the newspapers said nice things 
 of my effort, and I was seriously advised to thrpw 
 up the "T square" and take to the sock and 
 buskin. But no, I held true to my first love. I 
 clung tenaciously to bricks and mortar, in spite 
 of the tempting prospect held out. The manager 
 shrugged his shoulders, turned on his heel, and 
 exclaimed to a mutual friend, "Another good 
 man gone wrong." I shall always remember this 
 youthful histrionic effort with satisfaction, because 
 it made some pleasant friendships, notably that 
 with Miss Ada Dyas. She played Rosalind, and 
 Katherine for the first time, with a charm that 
 won all hearts ; her musical voice and expressive 
 
Professional, Artistic, and Theatrical. 217 
 
 features in the charming heroine of "As You Like 
 It " fairly took the audience by storm. A great 
 future was predicted for her ; she appeared just 
 as the Robertsonian drama was fascinating people, 
 and it was soon evident that she must take up the 
 charming heroines created by the new dramatist. 
 Esther Eccles in "Caste" was a chef-d'oeuvre. 
 She carried this masterpiece to America. Our 
 cousins on that continent so loved her that she 
 was not allowed to return for something like a 
 quarter of a century. Old playgoers saw her 
 once again in 1892, in Sir Henry Irving's pro- 
 duction of " King Lear," in which she accepted 
 the part of Goneril for old acquaintance' sake. It 
 has pleased Providence that my friendship with 
 this accomplished lady still continues. Often in 
 these (our grey-hair days) we recall our youthful 
 efforts at acting in the Lancashire town in honour 
 of the Tercentenary Commemoration of the birth 
 of William Shakespeare. 
 
 In the same year I yielded to the earnest 
 request of Mr. Whitehead, our manager at Bury, 
 to go to Hereford, and play on the occasion of 
 his benefit. Whitehead was on tour with his 
 own company ; funds had got low, and he deter- 
 mined to make an attempt to restore his shattered 
 finances, by what he called a supreme effort. He 
 announced a special performance of "Othello" 
 with myself as the Moor, and my friend Mr. 
 Lawrence Booth (an architect of Manchester) as 
 
21 8 An Architect's Experiences: 
 
 Cassio. The Tragedy was followed by " She 
 Stoops to Conquer," in which also we were 
 announced to appear. I began to think that I 
 was fairly on the way to histrionic fame. The 
 sequel will show my disenchantment. 
 
 Now, when a man becomes "stage-struck" 
 he is likely to meet with experiences which may 
 lead to fame and reputation, but which in nine 
 cases out of ten will disgust him, and cure him 
 of his passion for histrionics. My experience 
 at the Theatre Royal, Hereford, certainly tended 
 in the latter direction. I need not say that to 
 all amateurs the dress, or "get-up," is quite of 
 as much consequence as a proper performance 
 of the part ; in many cases much more impor- 
 tant. My friend and I soon found that we 
 both possessed certain physical characteristics 
 which had to be worked up to or provided for 
 in our costumes. For instance, it was abso- 
 lutely necessary that I should wear a turban, 
 brass breast-plate, curved scimitar, and other 
 adjuncts peculiar to a swarthy Oriental. Never 
 shall I forget that dress and the worry it caused 
 me, for on it hangs my story of what I will 
 call "Othello's Difficulties." 
 
 On a beautiful Whitsuntide morning we arrived 
 at the Old London Road Station, and to our 
 horror the package of costumes was not to hand. 
 Just as we were taking our seats, a quaint old 
 costumier of the name of Tyrer turned up with 
 
Professional, Artistic, and Theatrical. 219 
 
 many apologies, producing the " togs." We 
 were soon deep in our parts, and rehearsed them 
 during the whole of the journey. After passing 
 Shrewsbury town and during the run to Ludlow 
 we disrobed and got into our acting costumes. 
 I shall never forget the consternation of the 
 porters at the latter station when they beheld 
 the strange spectacle ; I believe they thought we 
 were "two wandering lunatics," for the guard 
 locked both the carriage doors ; and, on arriving 
 at Hereford, he was astonished to find us clothed 
 and in our right minds, as we thanked him 
 kindly for securing the carriage for our own 
 special use. Under any other circumstances our 
 first thoughts would have been for the Cathedral ; 
 but we had no eyes for anything but the long 
 streamers on the walls, bearing these startling 
 announcements : " Othello to-night, Mr. Charles 
 Addison"; "Cassio to-night, Mr. Frank Howard." 
 Other posters declared in big letters that on this 
 occasion, being the manager's benefit, "Othello" 
 would be performed with the aforesaid gentle- 
 men in the cast, "both of the Theatre Royal, 
 Manchester." This announcement made me 
 nervous ; but my companion burst into an un- 
 controllable fit of laughter, remarking that it 
 was "just like Whitehead to 'star' us in that 
 style." 
 
 Arrived at the Theatre Royal, the rehearsal 
 began in earnest, and a curious experience it 
 
220 An Architect's Experiences: 
 
 was. Nobody but lago seemed to know his 
 part, and the "heavy" man sulked and growled 
 all through. The scenery reminded one 'of the 
 "blood and thunder" shows at a fair. There 
 were a few properties, consisting of chairs and 
 tables, and when we mildly asked where So-and-so 
 was, we were informed in the most light-and-airy 
 manner that he was " cut out." The company 
 was so small that they had to "double" in order 
 to mount the piece at all. When that rehearsal 
 was ended, I felt so depressed that I wanted to 
 take the first train home. What a destruction 
 to the castle-building I had indulged in ! What 
 a sacrilege to treat the great master's work in 
 such a manner ! To rouse our spirits the 
 manager took us over the Cathedral, and treated 
 us to a copious draught of cider at the first 
 hostelry we came to. Whilst there the " heavy V 
 man entered, and, putting on a tragic air, ex- 
 claimed to the landlord, " Simpson, it is now 
 a long time since you said to me, ' Bertram, 
 will you have a glass of beer ? ' " to which 
 the landlord remarked that that period of time 
 would probably be considerably extended. It 
 was evident that Bertram had not been a strict 
 teetotaler during the day, and the manager 
 quaked as he thought of the Duke of Venice 
 and Lodovico of the evening. He whispered in 
 my ear that the man was annoyed at our 
 coming, and advised me to be civil to him. I 
 
Professional, Artistic, and Theatrical. 221 
 
 was civil ; but what that civiUty cost me is a 
 matter of history in theatrical annals. 
 
 The dreadful evening arrived. The house was 
 packed from floor to ceiling, and the summer 
 heat was almost intolerable. Our dressing-room 
 was reached by a ladder from a back yard, and, 
 I believe, was a hayloft hastily arranged for the 
 occasion. Othello, Cassio, lago, and Lodovico 
 shared this adjunct to the temple of the drama. 
 I had arrayed myself in my Moorish costume, 
 and was creating the dusky hue before a large 
 mirror, when I caught the reflection of the 
 inebriated form of Bertram vainly endeavouring 
 to pull on his "tights." At the same moment 
 my image caught his sight — from that moment 
 Othello was doomed. His first exclamation, in a 
 deep, sepulchral, thick voice, struck the keynote 
 of the situation: "Where on earth did you get 
 that make-up from ? It looks just like the Turkey 
 rhubarb merchant on London Bridge ! " Quite 
 true : there was no mistake about it. Yet the 
 thing could not be altered, and Othello made 
 his first entrance with this horrid thought in 
 his swarthy bosom. Fortunately the audience 
 were not impressed with the same notion, and 
 the burst of applause which greeted the Man- 
 chester "star" drove the rhubarb idea from my 
 mind. All went well till the great scene where 
 the Moor appears before the Duke and his Court 
 to answer the charges of Brabantio for charming 
 
222 An Architect's Experiences: 
 
 away his daughter. From the wing we saw the 
 noble Duke assisted to his throne by two 
 "supers," and the acting edition coolly laid open 
 before him on the table. Brabantio exclaims, 
 " My daughter ! O, my daughter ! " The Senator 
 exclaims, " Dead ? " 
 
 Brabantio : Ay, to me ; 
 
 She is abus'd, stol'n from me, and corrupted 
 By spells and medicines bought of mountebanks ; 
 For nature so preposterously to err, — 
 Being not deficient, blind, or lame of sense, — 
 Sans witchcraft could not 
 
 Then to our horror, the deep husky voice of the 
 Duke was heard to enquire, " What ! not with 
 rhubarb ? " It would be impossible to describe 
 the effect produced on the stage. The diabolical 
 grin of that noble Duke haunts me still. Those 
 Senators shook with suppressed laughter ; and 
 Michael Cassio, who stood beside me at the 
 footlights, fairly turned on his heel, and fled the 
 scene. Fortunately the audience did not see the 
 joke ; the rhubarb seemed part of the drugs and 
 charms, and just as the curtain was about to 
 descend, I started off in a fit of passion with 
 "Most potent, grave, and reverend signiors," and 
 thereby prevented the collapse of the Tragedy. 
 
 We worked through to the fourth act, during 
 which time the Duke of Venice, after desperate 
 efforts, exchanged his robes for the simple dress 
 appropriate to Lodovico. It was with the greatest 
 difficulty that the latter character got on to the 
 
Professional, Artistic, and Theatrical. 223 
 
 stage with the papers from the Duke and Senate. 
 I snatched them from him whilst a sHght hissing 
 came from the audience ; then, retiring up the 
 stage to peruse the papers, still keeping my 6)^6 
 on the inebriated messenger, I heard the gentle 
 Desdemona say, "And what's the news, good 
 Lodovico ? " The answer came with a leer at 
 myself, " Rhubarb's cheap." This fairly aroused 
 the audience into a fit of frenzy. To save a 
 catastrophe, I cut the speech short, ending with 
 the words, "I do entreat that we may sup 
 together." Then came the climax: "Thank ye. 
 Will there be any Turkey rhubarb?" 
 
 I shall never forget the scene that followed, 
 lago (poor Henry Drayton) seized the drunken 
 Lodovico by the collar, and hurled him off the 
 boards. It is needless to say that he fell with 
 a fearful crash into the scenery, and the curtain 
 descended amidst the yells of the exasperated 
 audience. How I got through the last two acts 
 is a mystery. I think anger carried me through, 
 for I remember Desdemona (Mrs. Henry Drayton) 
 struggled under the pillows, and she afterwards 
 informed me she was afraid I was really going 
 to crush the breath out of her. We wound up 
 that disastrous evening with a supper, but my 
 mind never fairly recovered the shock. I was 
 cured of my craving for histrionics. The stage- 
 struck youth who entered that theatre full of 
 high hope, left it in disgust, and returned to his 
 
224 ^'* Architect's Experiences: 
 
 legitimate avocation, a sadder but a wiser man. 
 Many years ago I wrote an account of this 
 theatrical adventure in the Manchester City News, 
 and my friend Booth wrote a continuation which 
 the Editor called " Cassio's Supplement." 
 In this article he said : — 
 
 Henry Bertram, the bete-noir of the noble Moor, acted in the 
 "Tempest" when it was produced at the opening of the Prince's 
 Theatre, Manchester, and would probably have continued to do 
 so much longer but for a misrepresentation of his "condition" 
 by Mr. Calvert when "Henry" was engaged, or expected to be, 
 on important business. 
 
 Tender thoughts are coming as I approach the conclusion of 
 my little supplementary narrative. The Manager was cured of 
 his craze by meeting, in his character of Jim Baggs, the eyes of 
 an amiable and most estimable lady, one of the audience, who 
 had the good sense and knowledge of human nature to adopt in 
 practice the injunction as to " not despising a man because he 
 wears a ragged coat." This lady he married, and lived happily 
 ever after, in the practice of his own legitimate profession, and 
 the society of his old friends. But he never lost his sympathy 
 with the companions of his former toils in the dramatic world. 
 Nothing gave him greater delight than to assemble round his 
 hospitable table as many of them as possible, and one of my 
 most pleasurable reminiscences is that of a Sunday spent at 
 Helensholme in the company of Irving, his honoured guest, who 
 had then almost reached the height of his ambition — always sup- 
 posing that there is any limit in perpendicularity and altitude to 
 that enormous ladder. 
 
Professional, Artistic, and Theatrical. 225 
 
 CHAPTER XVIII. 
 
 npHE year 1864 was remarkable in the Thea- 
 -^ trical Annals of Manchester; in this year the 
 Prince's Theatre was opened in the month of 
 October. A number of cultured gentlemen and 
 capitalists, with the late Mr. Peacock at their 
 head, induced Mr. Charles Calvert (who, as I 
 have said, was the manager at the Royal for the 
 owner, Mr. John Knowles) to throw in his lot 
 with the new venture, and to take the reins of 
 management. This opportunity was embraced 
 by Mr. Calvert without hesitation, for he saw a 
 prospect of gratifying an ambition always in his 
 mind, namely, to produce the works of Shake- 
 speare, and the modern high-class drama, in a 
 scholarly and worthy manner. 
 
 This combination of brains and capital resulted 
 in the brightest epoch in the history of the pro- 
 vincial Stage, and was regarded by the artistic and 
 literary world as a monumental effort to maintain 
 the dignity, the beauty, and the grandeur of the 
 greatest dramatic works, to uphold the honourable 
 position of the Theatre, and to elevate the general 
 tone of the art of the Stage. 
 
 Q 
 
226 An Architect's Experiences: 
 
 The raison d'etre of the Prince's Theatre ven- 
 ture was well expressed in the opening Address, 
 written by my friend H. M. Acton, and spoken 
 by Mr. Calvert, a portion of which may be appro- 
 priately quoted : — 
 
 On our side, too, perhaps some ancient claims 
 
 May pass as warrant for our present aims ? 
 
 If so, believe no purpose, light or vain, 
 
 Rears to the Drama this its last-built fane. 
 
 Here we aspire, you aiding us, to lend 
 
 The Art we live for to its worthiest end ; 
 
 To bid the grand old masters of our craft 
 
 Speak as though still they lived ; abroad to waft 
 
 The words of wisdom, charity, and wit, 
 
 Which Shakespeare, Sheridan, and Goldsmith writ; 
 
 Nor yet neglect whate'er the modern age 
 
 And living talent yield to grace the stage. 
 
 So may we hope the generous mind to reach 
 
 With sweetened lore, and, pleasing, still to teach ; 
 
 Alike at Virtue's and the Muses' call 
 
 To bid the alternate passions rise and fall ; — 
 
 The mirth that asks from modesty no blush ; 
 
 Tears that from Nature's kindliest fountains gush ; — 
 
 And deeper grave those lessons on the mind. 
 
 Which, while they charm, instruct and warn mankind. 
 
 A great ambition ! but if you assist, 
 
 Hard though our toil, its aim will not be miss'd; 
 
 And, think ! if, haply, in some future year, 
 
 Children of yours seek chastened pleasure here, 
 
 How just the pride, if honour then be due. 
 
 To feel no trifling share belongs to you I 
 
 Yours, generous patrons ! were the eyes to mark 
 
 When from the shore first crept our modest bark ; 
 
 You saw its form, and deemed its promise good; 
 
 You helped its trembhng passage to the flood. 
 
 And sped it bounding, in a worthy cause. 
 
 Before the favouring gale of your applause I 
 
CuARLiis Alexander Calvert. 
 Fium a photugniph by Elliott & Fry, Buktr Sheet, W. 
 
Professional, Artistic, and Theatrical. 227 
 
 To write the history of the Manchester Prince's 
 Theatre under the Calvert regime would involve 
 a task far exceeding the limits of this work ; 
 therefore I must rest content with an abbre- 
 viated history, with especial referente to that 
 portion of it with which I was more intimately 
 associated. It must be admitted by everyone 
 acquainted with the history of the modern 
 English stage, that the work done by Calvert 
 in the Provinces was valued and respected by 
 the artistic and cultured patrons of the Drama 
 throughout the country ; and during a period 
 of ten years the little Prince's Theatre was the 
 home of legitimate art, and the abiding place 
 of the Shakespearian drama. It is true that 
 Charles Kean and Samuel Phelps were the 
 pioneers in the great work of Shakespearian 
 production ; but the developments made under 
 the Calvert "Revivals" in Manchester, and now 
 being carried beyond the most sanguine expec- 
 tations by our great actor-manager. Sir Henry 
 Irving, have caused the earlier efforts to fade 
 almost away into the historic past ; and there are 
 only a few old playgoers who remember them, and 
 from whom any detailed account can be obtained. 
 
 At the outset of his work, Calvert adopted 
 the dictum of the late Cardinal Wiseman : that 
 Shakespeare wrote to be acted, and not to be 
 read. As Shakespeare wrote for the stage, and 
 not for the scholar, how should the stage give 
 
228 An Architect's Experiences: 
 
 expression to his inspired works ? On this point 
 Calvert had only one opinion— all that art, intel- 
 lect, and stagecraft could produce should be 
 forthcoming to provide a glorious and gem-like 
 setting suitable for the brightest jewels which 
 have ever sparkled from the human brain. 
 Calvert was conscious that in holding such a 
 strong and decided opinion he would come into 
 conflict with those persons who are content with 
 a moderate setting of the Shakespearian drama, 
 and who joined in the cry against Charles 
 Kean when he was called the " upholsterer " 
 and not the upholder of the drama. It has 
 always seemed to me a strange thing that this 
 class of objectors to complete representation 
 should not have taken the trouble to look into 
 the Poet's own pages for some argument in 
 favour of their theory. Perhaps they have done 
 so, and found all the internal evidence against 
 them : at least, such I judge to be the case, 
 inasmuch as I have failed to detect, as yet, any 
 authoritative utterance on the subject ; and one 
 would fain believe that the often ill-natured and 
 ignorant criticism of twenty years ago has dis- 
 appeared, and died a natural death in face of 
 the superb conditions under which we now 
 behold the Shakespearian drama. 
 
 From that memorable night of October 15th, 
 1864, when the Prince's Theatre doors opened 
 with "The Tempest," revived on Calvert's prin- 
 
Professional, Artistic, and Theatrical. 229 
 
 ciples, to the date of the last " revival " of 
 " Henry IV." (second part) in 1874, playgoers 
 had the satisfaction and enjoyment of a brilliant 
 epoch in the history of the stage — an epoch 
 which brought prestige and profit to those who 
 had had the courage to expend time and money 
 on what was predicted would be a disastrous 
 undertaking. The true keynote was struck on 
 the opening night : I venture to think that that 
 event was of vital importance in the history of 
 the Manchester stage. That night inaugurated 
 a policy from which, in spite of adverse criti- 
 cism and prophecy of financial disaster, Manager 
 Calvert never swerved or departed from in the 
 slightest degree. "The Tempest" was produced 
 with beautiful scenery, good acting, good music; — 
 will the episode of Julia St. George singing 
 " Where the bee sucks," time after time, ever 
 be forgotten by those who were present ? In 
 fact, everything was as good as money and 
 brains could produce. As I have already said, 
 I cannot attempt anything like a complete his- 
 tory of the work which illustrated Calvert's 
 policy of Shakespearian production. I will 
 therefore rest content with a few allusions to 
 the main features of that work, and to its 
 influence on the world of art and culture. 
 
 I will enumerate the " Revivals " in order of 
 time. I have just said the theatre was opened 
 with "The Tempest" in 1864. This was fol- 
 
230 An Architect's Experiences: 
 
 lowed in 1865 by " Much Ado about Nothing." 
 " A Midsummer Night's Dream " was produced 
 in the same year, "Antony and Cleopatra" in 
 1866, "Winter's Tale" in 1869, "Richard III." 
 in 1870, "Timon of Athens" in 1871, "Merchant 
 of Venice" also in 1871, "Henry V." in 1872, 
 "Twelfth Night" in 1873, and "Henry IV." 
 (second part) in 1874. " Henry VIII." was 
 Calvert's last Shakespearian revival, at the 
 Theatre Royal, after he had severed his con- 
 nection with the Prince's Theatre. 
 
 In the three first productions Calvert tested 
 the public taste. In "Antony and Cleopatra" 
 everything was achieved by a lavish expenditure 
 of art, knowledge, and money. This was a 
 wonderful production, with its quaint, old-world 
 architecture, its revel under the shadow of Philse, 
 its Augustan grandeur, and its Egyptian m;fsti- 
 cism. The late Tom Taylor wrote to the 
 Manchester Guardian : " Feeling grateful to Mr. 
 Calvert for the pleasure he has given me, I feel 
 it a reflected credit for Manchester that it 
 should be made the scene of such a theatrical 
 
 venture I can only wish that we had 
 
 in the Metropolis more of the spirit which, 
 judging by this revival, does not despair of 
 recognition and reward in this great seat of 
 manufacturing industry." 
 
 Helen Faucit (Lady Martin) wrote: "I may sin- 
 cerely say that, neither at home nor abroad, have I 
 
Professional, Artistic, and Theatrical. 231 
 
 seen a play put upon the stage more satisfactorily 
 in all its details of scenery, grouping, and costume." 
 These expressions of opinion determined Calvert 
 to continue the line of action he adopted when the 
 Prince's Theatre opened its doors. He foresaw 
 the attainment of a prestige for the theatrical 
 enterprise, of which he was the " head and 
 front" — a prestige which, I venture to say, has 
 never been attained by any provincial theatre of 
 our time. In the early years of the theatre it was 
 worked under the auspices of a limited company, 
 and the Directors stood loyally by the Manager in 
 the line of policy he had adopted. Calvert called 
 to his aid such artists and scholars as Grieve, 
 Talbin, Alma Tadema, R.A., J. D. Watson, 
 Rawdon Brown, and Arthur Sullivan. The 
 musical director was the late Alfred Cellier, that 
 genius and delightful gentleman, of whom I shall 
 have more to say hereafter. As these revivals 
 advanced in popular favour, it was curious to 
 note the influence that Calvert obtained over 
 those who had to provide the necessary funds. 
 I recollect an incident that happened at the 
 full-dress rehearsal of " Richard III." We were 
 watching the progress of the piece from the 
 stalls, when one of the Directors (a well-known 
 and well-to-do gentleman) exclaimed: "Calvert, 
 this beats the lot ; it's a rare good piece ! Who 
 wrote it?" The effect on the little auditory may 
 be better imagined than described. 
 
232 An Architect's Experiences: 
 
 The production of the " Merchant of Venice " 
 illustrated Calvert's enthusiasm, and the confi- 
 dence that was placed in the policy he was 
 pursuing. He was sent to Venice — where he 
 gathered a mass of material and local colour- 
 ing, purchased and brought home a gondola 
 (afterwards transferred to the waters of the 
 Thames), — and everything that trouble, research, 
 and money could do was done in honour of 
 this immortal play. It was in this revival that 
 Calvert realised one of those artistic master- 
 strokes which took the art-world by storm, so 
 to speak, and cast a halo of poetry over the 
 piece which still lives sweetly in the memory. 
 Portia's last speech begins — " It is almost morn- 
 ing," and on these few words Calyert built up 
 a result that was fascinating in its beauty. At 
 the end of the speech the pages went ro&nd 
 and quietly extinguished the lights ; the gufests 
 dispersed to the sounds of song and music ; the 
 scene became gradually empty, dark, and silent ; 
 and the curtain slowly fell. This was a bold 
 stroke of stage art, but it was exquisite in its 
 quiet beauty. The audience dispersed with a 
 consciousness that their hearts had been glad- 
 dened and drawn very closely towards the genius 
 of the immortal dramatist. The power and 
 beauty of the work were made apparent, and a 
 feeling of thankfulness was expressed in the 
 applause which burst forth for the manager who 
 
Professional, Artistic, and Theatrical. 233 
 
 was doing so much in honour of the great 
 master. 
 
 There still exists a body of carping critics 
 who argue that amidst the beautiful and poetic 
 setting of the Shakespearian drama the acting 
 is neglected and swamped : the same line of 
 argument was adopted against the work of Charles 
 Kean and Charles Calvert. Without pausing 
 here to refute such shallow and unworthy criti- 
 cism, I will say with confidence that the best 
 available talent in the profession was engaged 
 in these " Revivals," and that Calvert himself 
 was one of the best Shakespearian actors of his 
 time. I recollect on one occasion an incident 
 occurred which illustrates the powerful hold he 
 obtained over his audience. Calvert one evening 
 came into the Brasenose Club after finishing his 
 work as Shylock ; when he had taken his place 
 in the circle he said, " Well, boys ! I think I 
 must have played the old Jew pretty well 
 to-night." "Why?" some one said. "Because, 
 when broken down and despairing, I said, "Give 
 me my principal, and let me go," a man in the 
 pit shouted out, " No ! not a d — d meg." * A 
 ringing cheer went up from the audience, and 
 the incident constituted a splendid tribute to 
 the power of the actor. The sympathies of the 
 audience on that occasion were decidedly not 
 with the Jew. 
 
 * " Meg," in the Lancashire dialect, signifies a halfpenny. 
 
234 ^'* Architect's Experiences: 
 
 As time went on, the policy pursued b}^ 
 Calvert became so popular, that the little Prince's 
 Theatre was found inadequate to accommodate 
 the increasing audiences. It was accordingly 
 determined by the Directorate that the house 
 should be enlarged. I was called in to devise 
 a scheme by which the house should be stretched 
 to its utmost capacity ; thus commenced my 
 professional association with the architecture of 
 the theatre. The alterations were very exten- 
 sive, and somewhat difficult of attainment. I 
 was instructed to provide an additional circle 
 without raising the roof, and to construct a new 
 proscenium. I was allowed carte-blanche in the 
 decoration ; but the scheme was to be in ac- 
 cordance with the Shakespearian idea of the 
 management. I accordingly induced H. Stacy 
 Marks, R.A., to paint a proscenium frieze, ""the 
 subject being Shakespeare enthroned between 
 Tragedy and Comedy, and attended on either 
 side by representative figures from the principal 
 plays. 'This picture is one of the finest decora- 
 tive paintings of our time, and retains its beauty 
 and freshness to the present day. The box 
 fronts were adorned by medallion portraits of the 
 principal tragic characters, with incidents from 
 the plays, all painted by William Phillips. 
 Colour was freely introduced to balance these 
 decorative pictures ; and what was admitted to 
 be the prettiest theatre in the country was 
 
Professional, Artistic, and Theatrical. 235 
 
 opened on the 6th of August, i86g, with a pro- 
 duction of " Much Ado about Nothing." 
 
 Calvert's greatest, and I think his favourite, 
 work was " Henry V.," produced in 1872. In 
 this revival he reached the zenith of his mana- 
 gerial efforts. In recording Calvert's work, I may 
 remark that he not only desired to please the 
 eye and delight the ear, but he strove to make 
 his revivals educational ; consequently he found 
 in " Henry V." an opportunity of illustrating 
 the life and manners of mediaeval England, and 
 the " pomp and circumstance " of mediaeval 
 warfare. In short, that period of English history 
 was displayed on the stage immediately before 
 the advent of the Renaissance under the Tudors. 
 It was the epoch of plate armour, flowing robes, 
 picturesque architecture, and of that pictorial 
 splendour which could appropriately be cast 
 around Shakespeare's favourite hero. 
 
 I had the good fortune to be intimately 
 associated with my friend in this celebrated 
 revival. When this work was in contemplation, 
 I happened to be resident at Marple Hall, in 
 Cheshire, formerly the home of Bradshaw, the 
 regicide, and it was in this house, surrounded 
 by armour, tapestry, old pictures, and quaint 
 furniture, that I planned out and designed the 
 architectural scenes ; and it was here also that I 
 conceived the idea of realising the correct blazon 
 of the arms and banners, as they were actually 
 
236 An Architects Experiences: 
 
 used on the heroic field of Agincourt. Calvert 
 would spend hours with me in the gloomy old 
 mansion, and would pace about its rooms and 
 corridors in delightful restlessness and excite- 
 ment, as I described and explained my portion 
 of the work. Calvert seemed as though he 
 could not rest content until he saw the idea 
 in some tangible shape, either on paper or in 
 modelled form. On my return to Manchester, 
 I commenced the practical working out of the 
 duties I had undertaken. 
 
 It is difficult to convey a true idea of the 
 amount of trouble, research, and anxiety involved 
 by this revival of " Henry V." A faithful 
 historical picture of the period of the early part 
 of the 15th century had to be reahsed. The 
 architecture and the scenery had to be as 
 nearly as possible reproductions of the streets 
 of London, the seaport of Southampton, the 
 walled town of Harfleur, the battle-field of Agin- 
 court, the Palaces of Westminster and Rouen, 
 and the Cathedral of Troyes. The costumes 
 were made from a series of beautiful drawings 
 by that master of pictorial habiliments, the late 
 J. D. Watson. Watson's enthusiasm knew no 
 bounds : he not only made his careful drawings 
 from the best authorities, but he would actually 
 cut out the patterns to ensure correctness and 
 exactitude ; and personally superintend the work 
 of the costumier. The most difficult scene to 
 
Professional, Artistic, and Theatrical. 237 
 
 represent was " The Entry into London," de- 
 scribed by " Chorus.'' In this case it was 
 necessary to follow the accounts of the old 
 chroniclers of the period ; not only had the 
 architecture of old London to be reproduced, 
 but the decorations and incidents which con- 
 stituted "The Pageant." Metrical histories, 
 Harleian MSS., and all the available sources 
 of information had to be consulted before the 
 scene model could be made. Many practical 
 difficulties had to be overcome; the "wings" 
 and " flats " were of such a height and size 
 that they had to be hinged in several flaps for 
 convenience of movement, and for transmission 
 to other countries. When that great scene was 
 set up and lighted, everybody felt satisfled and 
 repaid for the trouble and expense it had 
 involved. The scene settled on, the entry and 
 incidents of the pageant had to be reahsed. 
 
 The patrons of the theatre have no idea of 
 the difficulty a manager experiences in drilling 
 a crowd of "supers." The "super" is an 
 individual, as a rule, without intellectuality ; in 
 fact, if he had any, he would not be a super. 
 It was only by incessant drilling that the crowd 
 of soldiers and the mass of London citizens 
 could be got to do the right thing at the right 
 moment. There is an amusing story told which 
 iflustrates the quahty of the "super" mind. 
 When " Faust " was being prepared by Sir 
 
238 An Architect's Experiences: 
 
 Henry Irving at the Lyceum, the idea of 
 the " Brocken " scene had to be carried into 
 practical effect ; after some trouble the leading 
 idea of the scene was firmly planted in the 
 brain of the "super master." He then pro- 
 ceeded to drill his men in squads, and worked 
 hard till the rehearsal of the complete scene. 
 After weeks of labour, what was the result ? 
 The witches rushed on exactly in the style 
 of frolicsome pantomimic demons. The super 
 master was simply horrified ; he shouted at the 
 top of his voice, "No! No!! No!!! No!!!! not 
 so 'appy, not so 'appy, go back — you're not on 
 'ampstead 'eath, you're in 'ell ! " 
 
 The entry into London in " Henry V." con- 
 tained between two and three hundred persons ; 
 but on the first night they were perfect, and all 
 went "merry as a marriage bell." There are old 
 playgoers who still have pleasant memories of 
 this great scene. To me it was the realisation 
 of an ideal : it represented all that art and 
 stagecraft could do to illustrate a great historical 
 poem. Those who saw the scene will not have 
 forgotten the crowd of citizens, artizans, youths, 
 maidens, and nobles of the land who filled the 
 streets and temporary balconies hung with tapes- 
 tries, and who with eager expectation awaited 
 the arrival of the young King-hero at the entrance 
 to London Bridge. One remembers the distant 
 hum of voices, and how the volume of sound 
 
Professional, Artistic, and Theatrical. 239 
 
 swelled as the little army approached on its 
 march from Blackheath ; how the sound burst 
 into a mighty shout as the hero of Agincourt 
 rode through the triumphal archway, the " Deo 
 gratius Anglia redde pro victoria " and other 
 hymns of praise filled the air, showers of gold- 
 dust fell from the turrets, red roses of Lancaster 
 covered the rude pavements, the bells clashed 
 out, and a great thanksgiving went up to heaven 
 for the preservation of the gallant King and his 
 little army of heroes. The curtain descended on 
 a perfect picture of mediaeval England. If any 
 doubts existed as to the proper method of pro- 
 ducing the plays of Shakespeare, this revival of 
 " Henry V." removed them, and settled the 
 question beyond argument. 
 
 I have said that Charles Calvert's revivals were 
 educational in their scope as well as dramatic. 
 In " Henry V." I made an effort to display the 
 heraldry of the time ; and the banners, shields, 
 and other devices actually used at Agincourt 
 were, after much labour and research, faithfully 
 reproduced. In the process of investigation, 
 certain points in English heraldry, about which 
 doubts had existed, were set at rest and settled, 
 and for the first time the Agincourt roll-of-arms 
 was blazoned. It cannot be doubted that this 
 production of " Henry V." in Manchester was an 
 event of importance in stage history. The annals 
 of the stage will record the production of this 
 
240 An Architect's Experiences: 
 
 piece in America, under Calvert's personal super- 
 vision, at Booth's Theatre, New York,, on Feb. 
 8th, 1875, and the immense success it achieved. 
 The Boston Herald wrote : " More than 100,000 
 persons have already visited Booth's Theatre to 
 enjoy the magnificent revival of ' Henry V.', and 
 there is thus far no perceptible diminution in 
 the size of the audience." 
 
 If I were writing a life of Charles Calvert 
 (which I am not), I could insert letters of the 
 greatest interest which I received from him 
 during his visit to America, wherein the diffi-. 
 culties he experienced on producing the piece 
 are detailed. It is a matter of history in stage 
 annals how George Rignold carried the produc- 
 tion through the States and into Australia, and 
 that immense sums of money were taken by its 
 exhibition, till it finally disappeared from the 
 stage, with my old scenery worn out, and the 
 proudly-waving banners of Agincourt tattered and 
 torn till their devices were beyond recognition. 
 
 I may here appropriately insert some extracts 
 from Calvert's farewell address, delivered on the 
 last night of "Henry V." He said: — 
 
 This night is the end of a memorable event, and in reviewing 
 the results of this our latest effort, I see three special reasons for 
 mutual exultation — the success in every sense of the production, 
 the enlarging taste for the works of the greatest dramatist that ever 
 lived, and the indisputable fact that the ignorant prejudice against 
 the theatre as an institution is declining. I feel assured that these 
 three truths are as gratifying to you as they are to me, and although 
 
Professional, Artistic, and Theatrical. 241 
 
 at this moment it is your_ good pleasure to direct your approval 
 towards your humble servant, still the chief merit rests with you; 
 for had you not supported and encouraged us we should have 
 reaped nothing but the consolation that we had suffered in a good 
 cause. But this night marks the accomphshment of one of the 
 greatest Shakespearian triumphs that has ever been known in the 
 history o£ art. A greater amount of money has been paid to 
 obtain admission to the performance of " Henry V.," and a greater 
 display of enthusiasm has been shown regarding the play than can 
 be recorded in our previous annals. I ask you who, by your oft- 
 repeated visits to these representations, have testified that to 
 Shakespeare at the Prince's Theatre you owe many and many 
 an evening of keen enjoyment, to bear your testimony to the certain 
 truth, that that inspired man has not written in vain ; nor should 
 the stage of our country, that he so graced by his genius, be 
 denounced as a vain thing. 
 
 I appreciate very highly the honour you do me this night. 
 My crown of " borrowed majesty " I now give up. My court is 
 dismissed ; my soldiers disbanded and their bows unstrung ; and 
 all our glories fade from your view ; but I hope not from your 
 memories. The laurels you bestow on me by your applause, and 
 by your hearty and enthusiastic patronage during the seventy-four 
 representations of the play, you will, I am sure, allow me to share 
 with my brothers and sisters in art, to whom I am indebted for 
 a zealous and hearty co-operation, and who are now assembled 
 in some numbers behind this curtain, and anxious with me to bow 
 their acknowledgments of the honours you this night confer. 
 
 Amid the applause which greeted this address 
 the curtain rose, discovering the whole company, 
 who seized the opportunity of testifying their 
 appreciation of their manager by a hearty round 
 of cheering. Thus "Henry V." and all his mimic 
 surroundings passed away into the history of 
 Manchester theatrical enterprise. 
 
242 An Architect's Experiences: 
 
 CHAPTER XIX. 
 
 TN December, 1871, the shareholders of the 
 -*- Prince's Theatre Company, Manchester, 
 were induced to sell their interest in the under- 
 taking to two of the Directors, J. M. Wike and 
 G. H. Browne, or "Boston" Browne, as he was 
 familiarly called in theatrical circles. I recollect 
 dear Johnny Toole grumbling about this change : 
 he said to me, " I don't know why I should 
 part with my interest in a good going corfcern ; 
 but I suppose it will benefit Calvert somehow." 
 So it did : the successful manager was awarded 
 a good share in the profits, and a salary which 
 in amount was unusual in the theatrical pro- 
 fession. This coalition of capital and brains 
 was known as the "Manchester Triumvirate." 
 As a professional man, I soon felt the advan- 
 tage of the new arrangement. I had only three 
 masters to serve instead of a Board of Directors. 
 In 1 87 1, further alterations and further decora- 
 tions were added to the theatre prior to the 
 great production of the " Merchant of Venice." 
 
Professional, Artistic, and Theatrical. 243 
 
 This event reminds me of a curious incident 
 that occurred in 1869, during the run of the 
 pantomime entitled " Froggie." Calvert's panto- 
 mimes generally ran a prosperous course up to 
 Easter ; but somehow this one fell off in popular 
 appreciation, and Calvert determined to curtail 
 it in the form of a "second edition," and to 
 precede it with a hasty production of the "Mer- 
 chant." In the second act he determined on 
 the representation of a " Grand Carnival," and 
 for which he desired me to produce and paint 
 an architectural scene representing Venice in the 
 1 6th century. The designing and modelling ot 
 such a scene was a work after my own heart, 
 but the painting of it was another matter. How- 
 ever, I called to my assistance an artist friend 
 and well-known literary man, Robert Pollitt : we 
 took possession of the paintroom for a week, 
 night and day. This was a new and fascinating 
 experience, but I soon mastered the technique. 
 Our work turned out the piece de resistance of the 
 play. The iirst night's receipts ran up to £igo, 
 and the succeeding night's exceeded ^^200. As 
 we worked we could hear every word on the 
 stage : one topical song was a great favourite, 
 and was given every night by John Wainwright, 
 who played " Froggie." There were no encore 
 verses, but the audience would call for a repe- 
 tition of the song. Pollitt, who fully took in 
 the situation, wrote a verse and sent it down to 
 
244 -^^^ Architect's Experiences: 
 
 Wainwright, who sang it out of his Froggie hat. 
 This took the audience by storm, and while the 
 new verse was being sung, another was written 
 and dropped down the paint frame opening into 
 Froggie's hat on the stage ; and so with a third 
 and fourth, till the poet's brain " dried up," and 
 the actor's breath and voice both forsook him. 
 This was an extraordinary performance, and con- 
 vulsed both actors and audience. The young 
 man who attended on us in the paintroom was 
 demoralised with merriment, and failed in his 
 duties. That young man was Richard Flanagan, 
 now the respected lessee of the Queen's and St. 
 James's Theatres, in Manchester. He has dis- 
 tinguished his management by producing the 
 first part of "Henry IV." and "Antony and 
 Cleopatra" for the son of his old employer. 
 These fine productions have interested • the 
 theatrical world, and Louis Calvert has proved 
 himself the worthy son of a worthy sire. 
 
 The Triumvirate I have spoken of was dis- 
 solved by the secession of Wike in 1873 : the 
 possession of the little gold mine, the Prince's 
 Theatre, passed to George Harrie Browne as 
 sple proprietor. I chronicle this event because 
 it had a considerable influence on my profes- 
 sional life. 
 
 From the moment when Mr. Browne came into 
 possession of the Prince's Theatre, in 1873, until 
 his lamented death in 1877, I was constantly 
 
Professional, Artistic, and Theatrical. 245 
 
 employed in embellishing the house, adding to 
 its beauty, and increasing the comfort and ac- 
 commodation of the audience. Mr. Browne took 
 the front of the theatre into his care ; money 
 and thought were lavished on making the 
 auditorium a model of artistic excellence and 
 luxurious comfort. We were not merely asso- 
 ciated as architect and client, but we became 
 intimate friends. I have always thought that 
 this intimacy was the cause of much of my 
 professional work in connection with theatre 
 architecture ; and I shall always gratefully cherish 
 the memory of " Boston " Browne. 
 
 In 1874 extensive alterations and additions 
 were made in the theatre. A new ceiling and 
 dome over the auditorium, an increased pro- 
 scenium opening, better accommodation for the 
 artistes, and a new scheme of decoration were 
 carried into effect. These improvements were 
 inaugurated on the night of April nth, 1874, 
 by a series of thirteen " Promenade Concerts," 
 conducted by M. Riviere. I constructed an 
 immense terraced orchestra on the stage, the 
 walls of which were lined with scenery, and a 
 complete promenade was realised from the front 
 of the house to the back and round the stage. 
 The music was of the highest class, and the 
 success of the experiment complete. 
 
 I have said that it is not part of my scheme 
 to write a life of Charles Calvert. I cannot, 
 
246 An Architect's Experiences: 
 
 however, dismiss the portion of my life story 
 with which he was associated, without some 
 allusion to his managerial work outside its 
 Shakespearian phase. The popularity of the 
 Prince's Theatre was so great that it was a 
 matter of ease to command the best talent in 
 the profession, and to secure the best theatrical 
 attractions. To enumerate all the successful 
 engagements made by Calvert would occupy 
 more space than I can spare, but the most 
 successful, both financially and artistically, were 
 those made with Jefferson, Emmett, Nielson, 
 Toole, and Phelps. 
 
 Calvert's mind was cast in a mystical and 
 physicological mould : this mental condition was 
 fostered and cultivated by his study and con- 
 templation of the writings of Swedenborg ; it 
 will not therefore be a matter of surprise ethat 
 the dramatic work of Lord Byron had a strange 
 fascination for him. He produced "The Two 
 Fascari," a gruesome play never before given 
 on the stage ; and he took a strange delight 
 in presenting the weird play of " Manfred " to 
 his Manchester patrons. Both these, although 
 beautifully given, were not popular ; but he 
 was destined to achieve a success with 
 " Sardanapalus," which was first produced at 
 the Alexandra Theatre, Liverpool, after his 
 association with the Prince's Theatre had 
 ceased. Louisa Moore was the Myrrha, and 
 
Professional, Artistic, and Theatrical. 247 
 
 the late Frederick Clay wrote some original 
 music, barbaric in character, and conducted the 
 orchestra on the first performance of the piece. 
 I shall never forget that first night ; the burning 
 of the palace was so realistic that the audience 
 took alarm, and had to be quieted by an 
 explanation from the stage. 
 
 " After the adieu to Assyria, Sardanapalus 
 mounts the pile, and stands by the throne " ; 
 this is the stage direction in Calvert's acting 
 edition of the play. The last words are spoken 
 by Myrrha. " 'Tis fired ! I come ! " Then 
 the final stage direction runs thus : — 
 
 " As Myrrha springs up the pile to join the 
 king, the flames suddenly break forth, surround 
 and seem to devour them, the whole mass 
 becomes a huge conflagration ; great volumes of 
 smoke roll across the stage ; the columns are 
 heard to fall and crumble ; the pyre sinks ; 
 the roof falls ; the walls of the palace give 
 way, disclosing the distance ; and after a time, 
 the clouds of smoke clearing off, the palace is 
 seen a heap of ruins." As the proof-sheets of 
 the play came to hand, Calvert would insist 
 on my reading them to him ; I caught his 
 enthusiasm, and readily entered into all his 
 proposals for the mounting of the play. When, 
 however, the final catastrophe was reached, I 
 recoiled at his realistic propositions. His reply 
 was, " Don't be alarmed, my boy ! the play is 
 
248 An Architect's Experiences: 
 
 a poem over the heads of the people, but the 
 ' conflagration ' will make it a financial success." 
 Such was the fact; " Sardanapalus " went through 
 the country, and reaped a golden harvest. 
 
 I have before mentioned the fact that the 
 late Alfred Cellier was secured by Calvert as 
 the musical conductor of the theatre. I well 
 remember his arriving one evening from London ; 
 he came into the managerial sanctum in a quiet, 
 shy manner, and seemed to me altogether too 
 quiet and gentlemanly to grapple with the 
 worry and fatigue of a theatre. I expressed 
 my opinion to the manager ; he said, pointing 
 to Alfred's retreating figure, " He is the coming 
 man, mark my words ; and moreover, he is a 
 gentleman." Never was a truer prophecy uttered— 
 this was my first meeting with the author of 
 " Dorothy," and the commencement of a friend- 
 ship which only ended with his premature and 
 lamented death in December, 1891. 
 
 Calvert soon discovered the musical genius of 
 his chef d'orchestre, and when Cellier came to 
 him with his first musical composition in the 
 shape of a comic opera, he gladly undertook 
 to produce it at the Prince's Theatre. The 
 book was written by Mr. Jarratt, of local literary 
 fame, and who, I am pleased to say, like the 
 Thane of Cawdor, " still lives a prosperous 
 gentleman." Everything was done as usual to 
 make the production a success. The first night 
 
Professional, Artistic, and Theatrical. 249 
 
 came; and with it Sir Arthur Sulhvan to witness 
 the performance of this maiden effort of his old 
 friend and boy companion. I sat with Sir Arthur 
 in the prompt-side box, and when Alfred Cellier 
 entered the orchestra to conduct the " Sultan 
 of Mocha," the audience rose to greet him with 
 a great shout of welcome. "What a reception!" 
 said Sir Arthur. "Well, he deserves it; for he 
 has more music in his little finger than I have 
 in my whole body." I stared in amazement — 
 
 "It's a fact," he said, "But! " We soon 
 
 got to understand the meaning of that word 
 but. We soon came to know the weakness of 
 Cellier's character ; he lacked force and concen- 
 tration, which prevented the financial success 
 which should have waited on his genius. He 
 could not write to order, but achieved wonders 
 when the inspiration was upon him. I have 
 seen him start to write at the Brasenose Club, 
 an overture that had to be played on a special 
 occasion at the theatre in the evening. By 
 some marvellous process the band parts were 
 placed on the music stands when he entered 
 the orchestra ; and still more wonderful to tell, 
 the piece was played at sight. I recollect he 
 told me after the success of " Dorothy," in 
 London, that the song, " Queen of my Heart," 
 was written in the middle of the night without 
 a pause ; and simply because the idea suddenly 
 came to him, when he ought to have been 
 
250 An Architect's Experiences: 
 
 asleep. The success of that song was phe- 
 nomenal, and the publishers reaped a substantial 
 reward from its sale.* 
 
 The "Tower of London," f "Nell Gwynne," 
 and "Belladonna" followed the success of the 
 " Sultan of Mocha " at the Manchester Prince's 
 Theatre ; and, as was only to be expected, the 
 gifted author of these operas left the scene of 
 his provincia,! triumphs for the Metropolitan 
 stage. 
 
 On November 26th, 1874, a supper was given 
 at the Brasenose Club to Alfred Cellier, to com- 
 memorate the success of his first opera, " The 
 Sultan of Mocha." On the above date the 
 members assembled to do honour to their fellow- 
 member, and to celebrate the success of his 
 musical effort for the lyric stage. This supper 
 
 * The famous song, " Queen of my Heart," was not written 
 originally for " Dorothy." Cellier himself once said : " I wrote 
 that song some years ago, and received a few pounds for it. I 
 tried hard to get a royalty as well, but unsuccessfully. If I had 
 had a royalty of one sixpence a copy, I should have received more 
 for it than for the whole opera, for since " Dorothy" has started 
 40,000 copies of the song have been sold." 
 
 t As an illustration of Cellier's absence of mind, I may mention 
 that he lost sight of the "score" of the "Tower of London," and 
 it was not till a London firm of music publishers reminded him 
 of it and offered him a price for it that he remembered its exis- 
 tence. He wrote one of his genial, light-hearted letters, asking me 
 to try to find it for him. After much speculation as to its where- 
 abouts, I determined to search the premises of the Brasenose Club. 
 There I ultimately found it in a cellar amongst waste paper intended 
 for fire-lighting purposes. 
 
Professional, Artistic, and Theatrical. 251 
 
 took place in the little dining-room (now the 
 library) at a late hour, and after the perform- 
 ances had closed at the theatres. The actors 
 who took the leading parts in the opera were 
 present, including Fred Mervyn, Clifford, and 
 Jack Cook. Helen Faucit was playing Lady 
 Macbeth at the Theatre Royal ; stalwart, hand- 
 some, and manly John Clayton being " leading 
 man," and playing Macbeth. His speech in re- 
 sponse to "The Profession" was full of humour. 
 He told how, when he came off the stage after 
 the murder of Duncan, he was accosted by the 
 " call boy," who handed him a small strip of 
 paper, on which was written, " Respond for ' The 
 Profession ' to-night. — A. D." He went on with 
 his work, but now and then those horrid words 
 stuck in his throat worse than the "Amen" of 
 the sleeping grooms, till at last, when he came 
 face-to-face with Macduff, he could think of 
 nothing else ; and as he rained blows upon 
 blows on him, he cried out in a loud stage 
 whisper, " Respond for ' The Profession,' you 
 
 blood-thirsty ." Well, he did respond ; and 
 
 that was the last occasion on which John 
 Clayton's trumpet voice was heard within the 
 walls of this Club. He died too early, and 
 the Stage lost a true gentleman and a good 
 actor. 
 
 After supper, a merry evening was spent in the 
 Clubroom ; all the choruses were sung from the 
 
252 An Architect's Experiences: 
 
 " Sultan," and the talented composer officiated 
 at the piano. 
 
 Alfred Cellier achieved fame and reputation ; 
 I venture to think that the men who were pre- 
 sent at that supper will remember the event 
 with pleasure, and will feel proud in the know- 
 ledge that the successful composer was a member 
 of the Club. 
 
 On the evening of October 13th, i8go, Alfred 
 Cellier was my guest as chairman of the Club 
 at dinner ; and ' a large company of members 
 gathered to greet and toast their former col- 
 league. In proposing the health of the guest, 
 I reviewed Mr. Cellier's career, with special refe- 
 rence to that portion associated with Manchester ; 
 and referred to the occasion when he first entered 
 the conductor's chair at the Prince's Theatre, 
 under the Calvert management. Reference also 
 was made to the original works produced under 
 that management, and subsequently under that 
 of "Boston" Browne and Alfred Thompson. I 
 concluded by congratulating Mr. Cellier on the 
 high position to which he had attained as a 
 composer through his beautiful " Dorothy." The 
 toast was received with enthusiasm, and Mr. 
 Cellier responded in a speech in which he chiefly 
 alluded to his life and work in Manchester, with 
 some reference also to the work in contempla- 
 tion for the future ; to his collaboration with 
 W. S. Gilbert, and to the proposed production in 
 
Professional, Artistic, and Theatrical. 253 
 
 America of an opera to be founded on Long- 
 fellow's " Pandora." It was a cause of much 
 regret that Mr. Cellier was in indifferent health, 
 and that it was not without an effort that he 
 responded to the toast. 
 
 " Coming events cast their shadows before." 
 
 Alfred Cellier died on the 28th of December, 
 1891, and the Brasenose Club placed its mourn- 
 ing wreath on his grave. On the eve of the 
 crowning triumph of his life, the last stroke of 
 the pen given, the composer passed away without 
 seeing the success of his work. 
 
 I have dwelt thus at length on Alfred Cellier 
 and his work, because his genius was first 
 recognised by Charles Calvert, and because his 
 first lyric production saw the light at the famous 
 little theatre which was the centre of artistic 
 work in the provinces. 
 
 A trait in Calvert's character strongly developed 
 was a love of his fellow-man. A tale of trouble 
 or suffering affected him deeply. In 1871, after 
 that dreadful Franco-German war, subscriptions 
 were got up in the country to alleviate the 
 sufferings of its victims. Calvert conceived the 
 idea of a series of Stage Tableaux or living 
 pictures, which should illustrate the horrors of 
 war, the sufferings entailed, and the blessings 
 of peace. The first exhibition of these pictures 
 took place at the Prince's Theatre, on February 
 6th, 1871. 
 
254 ^'* Architect's Experiences: 
 
 Here is the Programme : — 
 
 1st Tableau : " Summoned to the War." 
 
 2nd ,, " Another Sortie." 
 
 3rd ,, "The Prayer in the Church." 
 
 " ' After Landseer. 
 
 5th „ " Peace.") 
 
 6th : " An Allegorical Tableau," in which Mrs. 
 Charles Calvert will appear as "PEACE," 
 and deliver an Ode. 
 
 Final Tableau : 
 "THE DOVE AND THE OLIVE BRANCH." 
 
 The success of this event v^^as extraordinary ; 
 a morning performance of the Tableaux had to 
 be given, and, after paying all costs connected 
 therewith, there was at the disposal of the "War 
 Victims' Fund " a sum of over ^^300. 
 
 A curious incident occurred in connection with 
 this sum of money. Calvert seemed in doubt 
 as to which committee or body it should be 
 presented. I knew the great work that was 
 being done towards the alleviation of the war 
 distress by the Society of Friends, and sug- 
 gested that that body should have the money. 
 Calvert replied: "My friend, the fact of you 
 being a Quaker, combined with the fact that a 
 magisterial ' Friend ' yearly signs the renewal of 
 the theatre licence (this ' Friend ' recognised the 
 good work that Calvert was doing; and, hke the 
 good Bishop Fraser, believed that the Theatre 
 might be made the medium of good rather 
 
Professional, Artistic, and Theatrical. 255 
 
 than evil under such management as Calvert's), 
 decides me that the money shall go to the 
 Society of Friends." 
 
 In 1879 I was turned out of the Society, 
 or "disowned," as the phrase used to be. No 
 doubt I deserved it. When, however, the 
 Committee, who waited on me previous to the 
 "minute of disownment " being passed, made 
 the fact of my "play-acting" for the widow 
 and family of the man from whom they had 
 taken the war victim money (theatrical proceeds) 
 with open hands and grateful thanks, one of the 
 charges against me, my surprise was so great, 
 that I dismissed that committee as quickly and 
 as respectfully as I could. It is only right that 
 I should record the fact that this reason was 
 not set forth in the minute of disownment ; and 
 I conclude that such inconsistency was not 
 acknowledged by the majority of those who sat 
 in judgment on my Quaker delinquencies. 
 
 A pleasant feature in Calvert's career was his 
 engagement of Phelps, from whom he confessed 
 that he had learned his art. The great actor 
 came to Manchester after the doors of Sadler's 
 Wells were closed, and made "Twelfth Night" 
 and " Henry IV." historic in the annals of the 
 Manchester stage by playing Malvoho, The King, 
 and Justice Shallow. I recollect Forbes Robert- 
 son played Prince Henry; and the impersonation 
 by Phelps of Shallow will ever dwell in my 
 
255 An Architect's Experiences: 
 
 memory as the most consummate piece of his- 
 trionic art in the second half of the Victorian 
 Era. 
 
 In 1877 an address was drawn up by the 
 members of the Brasenose Club, and signed also 
 by many men of note in the locality (the list is 
 given in the life of the great tragedian by Forbes 
 Robertson), and presented to Phelps on his 
 retirement from the Stage. The members were 
 proud of the grand old actor who had done so 
 much for the representation of the Drama in 
 its highest forms. When the old manager of 
 Sadler's Wells entered the Club he was received 
 with tokens of respect and high regard. He 
 invariably seated himself between the arms in 
 the centre of a long ottoman, and around him 
 would gather his fellow-members to listen to 
 angling adventures and anecdotes of stage life. 
 I remember on one occasion he entered with 
 Calvert (Phelps was then fulfilling an engage- 
 ment at the Prince's Theatre). "Business" was 
 not quite what they expected at the theatre, 
 and Calvert said, "Let us put up 'Sir Pertinax 
 Macsycophant.' " Phelps replied, "No; Pm sick 
 of every word he ever uttered." They decided 
 to put up "A Midsummer Night's Dream," and 
 thus local playgoers had an opportunity of seeing 
 the celebrated impersonation of " Bottom the 
 Weaver." The whirligig of time is a strange 
 thing : here was Charles Calvert (now the pros- 
 
Professional, Artistic, and Theatrical. 257 
 
 perous actor - manager) , who confessed that he 
 had learned his art and fixed his career from 
 seeing Phelps, talking to the old tragedian on 
 the business of the theatre. It was on this 
 occasion that Calvert suggested to Phelps the 
 production of " Henry IV.," and that the latter 
 should double the parts of the King and Justice 
 Shallow. The great man calmly stroked his 
 chin and said, "A capital idea, Calvert: we'll 
 do it!" The result of this conversation is, as 
 I have said, a matter of history in local stage 
 annals. "Old Double" is dead, and so is the 
 last member of the old school of acting. Lovers 
 of the Drama will know his genial presence nO' 
 more, but on the roll of this country's dramatic 
 history will ever remain the name of Samuel 
 Phelps. 
 
 In 1875 Mr. Calvert took on John HoUings- 
 head's Company at the Queen's Theatre,. 
 Manchester, with Phelps as Falstaff in the 
 " Merry Wives of Windsor," and supported by 
 the best talent the profession could produce. 
 In the same year Calvert left the scene of his 
 managerial triumphs in Manchester, and produced 
 " Sardanapalus," as I have said, in Liverpool. 
 In 1877 he revived " Henry VIII." in grand 
 style at the Theatre Royal, Manchester. This 
 was the last of his great Shakespearian Revivals, 
 in which he sustained the part of Wolsey with 
 marked success. 
 
258 An Architect's Experiences: 
 
 Calvert was never a strong man physically, 
 and those who knew him well often saw indica- 
 tions of failing health. He carried " Henry V." 
 to Birmingham, and it was in that city that the 
 first serious break-down occurred, in 1873. On 
 the first night it was evident he was suffering 
 from severe indisposition, and on uttering the 
 line, " Oh ! God of Battles, steel my soldiers' 
 hearts," he suddenly stopped, swooned, and was 
 carried from the stage in what appeared a dying 
 condition. The curtain fell on one of the most 
 painful scenes ever witnessed in a theatre. The 
 run of the piece continued, with Mr. Reginald 
 Moore as the King. Calvert slowly recovered, 
 but the rest of his career was characterised by 
 broken and uncertain health. 
 
 A second seizure occurred in December, 1875. 
 I had to journey to Stratford-on-Avon, whfere I 
 paid a brief but pleasant visit to Mr. Edgar 
 Flower at his beautiful home, "The Hill." We 
 discussed the proposed Memorial Theatre to be 
 erected on the banks of the Avon. From Strat- 
 ford I went to Birmingham, where Calvert was 
 playing in " Sardanapalus." He was staying at 
 the Plough and Harrow Hotel, at Edgbaston. 
 Here Mr. Partington was painting his large 
 picture of the last scene ; Miss Louisa Moore 
 as Myrrha and Mr. Calvert as the King were 
 sitting to him in the large dining-room which 
 served as a studio. On the second night of my 
 
Professional, Artistic, and Theatrical. 259 
 
 visit I was called up by the alarmed household 
 to find Calvert in a fit of complete prostration. 
 I thought the end was coming, but he recovered 
 sufficiently to struggle through his work at night ; 
 but it was evident to his audience that he was 
 suffering acutely, and that he might break down 
 at any moment. 
 
 The last years of Charles Calvert's life form 
 a melancholy record. I was the last of the old 
 circle to see him at Fulham, where he was under 
 careful medical treatment ; but he died in a few 
 days after my visit on the 12th June, 1879, at 
 the age of 51. 
 
 The late Mrs. Alexander Ireland (author of the 
 " Life of Jane Welsh Carlyle"), in her "Lives of 
 Manchester Men and Women," has written of 
 Calvert : " Charles Calvert was a man we could 
 ill spare, and those who can look back and 
 remember what the ' Prince's Theatre ' was in 
 his days will acknowledge that we lost in him a 
 stage manager unrivalled for resource, organisa- 
 tion, and the weightier qualities of scholarly 
 research and historical accuracy. Add to these 
 an inborn artistic gift, a fine cultivated mind, 
 and deep powers of spiritual conception, and you 
 will have some idea of what he was " ! 
 
 Charles Calvert was laid to rest in the Brook- 
 lands Cemetery on the i8th of June. The long 
 cortege came from the station, paused before the 
 Theatre Royal, and the hearse drew up for a few 
 
26o An Architect's Experiences: 
 
 moments opposite the fa9ade of the Prince's 
 Theatre. I shall never forget that dense crowd, 
 that sea of human faces, standing silent and 
 grave. The tears welled into the eyes at such 
 a tribute to the man, and the art he had taught 
 those masses of Lancashire people to love and 
 honour. A London paper described the scene 
 in these words: "Between Manchester and the 
 Brooklands Cemetery, where lie the mortal re- 
 mains of Charles Alexander Calvert, no fewer 
 than 50,000 people had assembled to pay their 
 friend and teacher the last tribute of respect in 
 their power to offer. It is in this peaceful spot 
 that he rests, after a long and honourable life, the 
 effects of which happily yet remain, and may be 
 distinctly traced in many of the theatres to which 
 he had at different times devoted his attention." 
 
 The funeral oration at the grave side was an 
 impromptu effort, and so admirable that it is 
 inserted here as an honourable tribute to the 
 memory of Charles Alexander Calvert : — 
 
 The frame which is now consigned to its grave must have been 
 much beloved in its frequent appearances before men and women 
 to have commanded this mighty audience this afternoon to tender 
 the last tribute of affection and regard. It is very true, if I am 
 not impertinent in saying so, that we come to bury Calvert, not 
 to praise him. He must have had a large hold upon the hearts 
 and affections of men and women, not only here, but very likely 
 throughout the length and breadth of the British Empire, too. 
 That he was much beloved and much honoured, surely this 
 audience before me attests and witnesses. It is often supposed 
 that there is a sharp line of demarcation between the profession 
 
Professional, Artistic, and Theatrical. 261 
 
 of the minister and the Christian profession and that of the great 
 actor. I don't know why it should be thought so exactly, for it 
 seems to me that whoever he may be who impersonates noble 
 emotions and lofty conceptions — whoever he may be who imparts 
 innocent and cheerful mirth, must be regarded as a great public 
 benefactor ; and in the memory of this we may say that a great 
 public benefactor has gone, and gone unexpectedly, from our 
 midst. All genius is from God. The power to interpret great 
 ideas, the power to impersonate noble emotions, no less than the 
 power which expresses them, we are to conceive is deri\-ed from 
 God, who is the giver of every great and good gift. We cannot but 
 know that he whom we are interring to-day has really stirred and 
 aroused noble feelings and impressions in the hearts and minds of 
 men. I have had conveyed to my mind also the knowledge while 
 I have been coming here that he was not less a man of religious 
 convictions and religious impressions, although, perhaps, not find- 
 ing their solution in some of those which are regarded as tlie 
 ordinary and popular forms of such ideas. However that ma}' 
 be, the mighty impersonator of death is dead. The mighty and 
 masterly tragedian has yielded to that tragedy to which at last we 
 shall all have to yield, the great tragedy which closes life — death ! 
 Through a painful illness, through a complication of painful diseases 
 such as have been described to me, he has found that the best 
 physician is death — death from which we shrink back and shudder 
 all our lives, but which that great spirit whose words he was so 
 fond of interpreting and quoting has told us is 
 " As a lover's pinch. 
 Which hurts, and is desir'd." 
 Well, now then we leave him here in the midst of this presence 
 of duty, beneath that blue sky, in the midst of the glories and 
 pomp of these trees, with their green and gold, and in the beauty 
 of this sunshine; but we do not leave him altogether in the grasp 
 of Nature. We do not leave him there at all. Whatever lived 
 of Calvert, lives. It is not possible that the spirit which can stir 
 noble sentiments or express noble thoughts can pass away as 
 something which resolves itself into dust, but as no more. The 
 immortal spirit lives, and I shall believe that through the faith 
 which we have in Jesus Christ our Lord, who says, " Come unto 
 me all ye who labour and are heavy laden, and I will give you 
 
262 An Architect's Experiences: 
 
 rest"; who tells us, or of whom we are told, that it was His 
 province to bring life and immortality to light through His gospel. 
 With these pleasant hopes, with these bright and cheerful senti- 
 ments, we now consign to the grave this beloved brother and dear 
 neighbour and townsman of yours, whose last wish was that he 
 should repose in this beautiful cemetery. We leave him here in 
 the full and assured hope that, as he lives among the spirits yonder 
 in the light and love of the world to come, those who long to meet 
 him again shall meet him on the morrow. 
 
 This address was spoken by the Rev. Paxton 
 Hood. 
 
 On the Brooklands gravestone I had the words 
 cut — 
 
 " After life's fitful fever he sleeps well." 
 
 With Calvert's death was closed one of the 
 brightest chapters of my life's story. 
 
Professional, Artistic, and Theatrical. 263 
 
 CHAPTER XX. 
 
 A S one of the executors of the late Mr. Calvert, 
 ■^^^ I deemed it desirable that the public should 
 have some opportunity of showing respect for his 
 memory, and at the same time, of making some 
 substantial addition to the funds at the disposal 
 of the trustees for the benefit of his bereaved 
 family. With this object in view I determined 
 to consult the late Mr. Tom Taylor, the well- 
 known dramatic author, and at that period the 
 editor of Punch. Mr. Taylor's acquaintance I 
 made in 1873, when he came to Manchester to 
 try his experiment of mounting " Hamlet " after 
 the fashion in which it was played in Shakespeare's 
 time. He invited me to meet the late Steele 
 Mackye, to talk over the idea, and the piece 
 was produced in Manchester, with Mackye as 
 the Prince of Denmark. Mr. Taylor also con- 
 sented to preside at the banquet given to Mr. 
 Calvert, prior to his departure for America to 
 produce " Henry V." His speech was an eloquent 
 tribute to the cultured and artistic manager, and 
 
264 
 
 An Architect's Experiences : 
 
 the affair passed off with considerable enthusiasm, 
 I felt that if Mr. Taylor would enter into the pro- 
 ject, success was certain. And so it was. We 
 hit upon the idea of performing a Shakespearian 
 Comedy, the cast of which should be composed 
 of those literary men, musicians, and artists who 
 had been associated in any way with Calvert's 
 great work at the Prince's Theatre, Manchester. 
 
 The project was discussed in London, and at 
 Tom Taylor's delightful home at " Lavender 
 Sweep." I returned to Manchester, and organised 
 a committee, which was so important and repre- 
 sentative in character, that I insert here the list 
 of names in order to show how far reaching 
 Calvert's genius had been amongst men of culture 
 and high position : — 
 
 COMMITTEE. 
 
 H. M. Acton 
 
 A. Aspland, J. P. 
 
 J. H. Agnew 
 
 Peter Allen 
 
 J. W. Addleshaw 
 
 J. Addison 
 
 Thomas Agnew 
 
 Thomas Ashton, J. P. 
 
 Benjamin Armitage, J. P. 
 
 Dr. Ainsworth 
 
 J. Bagshaw 
 W. G. Baxter 
 F. C. Burnand 
 J. H. Braybrooke 
 C. Bradshaw 
 S. M. Bradley, M.D. 
 E. O. Bleackley 
 H. F. Blair 
 C. K. Ballinger 
 Hugh Birley, M.P. 
 Samuel Barlow 
 Jacob Bright, M.P. 
 
 Ben Brierley 
 
 E. J. Broadfield 
 
 Sir Thos. Bazley, Bart., i\I.P. 
 
 Thos. Browning 
 
 J. L. A. Bennett 
 
 J. Coleman 
 
 T. Cav'anah 
 
 John Cavanah 
 
 John Crook 
 
 Captain Child 
 
 W. T. Charley, M.P. 
 
 Alfred Cellier 
 
 Charles Leigh Clare, J. P. 
 
 John Duffield , 
 
 A. Darbyshire, F.I.B.A. 
 
 Henry Dunckley 
 
 E. Edmonds 
 J. Emerson 
 George Falkner 
 George Freemantle 
 John FuUalove 
 
Professional, Artistic, and Theatrical. 
 
 T. Walton Gillibrand 
 Michael Gunn, Dublin 
 Dr. Gumpert 
 Philip Gillibrand 
 Wm. Grimshaw 
 Chas. J. Galloway, J. P. 
 
 C. Napier Hemy 
 John HoUingshead 
 Wilmot Holt 
 John Hare 
 Charles Halle 
 Abel Heywood, jun. 
 John Hall 
 John Harwood 
 Sydney Hudson 
 W. H. Houldsworth 
 Chas. J. HoUiday 
 
 Henry Irving 
 Alexander Ireland 
 
 James Jardine 
 
 Edward De Jong 
 
 Hy. J. Jennings, Birmingham 
 
 J. G. Lyride 
 J. Lawton 
 B. Lee 
 R. Lee 
 
 Robert Leake 
 John Lancaster 
 A. Lafosse 
 
 J. Manchester 
 
 Thomas Manchester 
 
 H. S. Marks, R.A. 
 
 A. H. Marsh 
 
 G. Du Maurier 
 
 F. Mehl 
 
 J. William Maclute, J. P. 
 
 Herman Merivale 
 
 F. Merriman 
 
 Geo. Milner 
 
 J. H. Nodal 
 
 J as. Oliver 
 
 Samuel Pope, Q.C. 
 
 A. C. Poole 
 
 R. S. Pilcher 
 
 R. PoUitt 
 
 R. M. Pankhurst, LL.D. 
 
 George Peel 
 
 R. Peacock, J. P. 
 
 E. Crompton Potter 
 
 H. Patteson 
 
 Thomas Rose, J. P. 
 
 J. Rodgers, Birmingham 
 
 Arthur Sullivan 
 
 Linley Sambourne 
 
 Thomas Sowler 
 
 A. G. Symonds, M.A. 
 
 John Slagg 
 
 Edwin Simpson 
 
 E. G. Simpson 
 
 Mayor of Salford 
 
 C. P. Scott 
 
 R. Smith, B.A. 
 
 C. H. Stephenson 
 
 J. Stanislaus 
 
 Edward Saker, Liverpool 
 
 Alfred Thompson 
 
 W. A. Turner 
 
 J. Fox Turner 
 
 W. H. J. Traice 
 
 Tom Taylor 
 
 L. Alma Tadema, R.A. 
 
 Gilbert Tate 
 
 J. L. Toole 
 
 Jonathan Tong 
 
 R. Udall 
 
 Hon. Lewis Wingfield 
 J. D. Watson 
 Edwin Waugh 
 Professor Ward 
 O. O. Walker, M.P. 
 James Worthington 
 John Watts, Ph. D. 
 
 EXECUTIVE COMMITTEE. 
 
 George Falkner, Chairman 
 W. A. Turner, Treasurer 
 H. M. Acton 
 J. Bagshaw 
 John Cavanah 
 
 A. Darbyshire 
 J. Duffield 
 A. Ireland 
 J. Lawton 
 J. Manchester 
 
 T. W. Gillibrand, Hon. Sec, 56, George Street, Manchester. 
 
266 An Architect's Experiences: 
 
 The forming of this great committee was a 
 matter of ease — everybody was anxious to be 
 associated with the event ; but the getting up of 
 the performance was quite a different matter. It 
 was an experience that a man would not care to 
 have twice in a Hfetime. In the matter of the 
 committee, everybody was content to appear in 
 alphabetical order ; but in the matter of the per- 
 formance, everybody seemed to want to play the 
 best parts, and everybody wanted to be stage 
 manager. There were two Rosalinds in the field, 
 with two versions of the play, and the prompter 
 stood a chance of becoming a hopeless lunatic 
 before those two memorable nights were ended. 
 
 Although the raison d'etre of those memorial 
 performances to many of us was sad, the humours 
 and adventures were so curious, that my work 
 would be incomplete without a history of the 
 event in some detail. 
 
 It was soon decided that the only Shakespearian 
 Comedy that amateurs could approach was " As 
 You Like It," and I was made responsible for the 
 production and cast of the piece. As I write, I am 
 saddened as I note how many of those clever men, 
 and dear friends, have "gone to that bourn from 
 whence no traveller returns " ; I trust my record 
 will wound nobody living, and I shall certainly 
 "set down naught in malice," although I may not 
 extenuate some of the amateur faults of the dead. 
 
 Shall I ever forget the worry and anxiety of 
 
Professional, Artistic, and Theatrical. 267 
 
 the three months occupied in organising these 
 memorial performances? — I think not; as I write, 
 I seem to hve the anxious time over again ; and 
 the wonder is how it was got through, and with 
 such a successful result. Mr. Tom Taylor was 
 a tower of strength to me, and my good friend, 
 the late Hon. Lewis Wingfield, novelist, play- 
 wright, and critic, stood manfully by our side 
 through all the trials, difficulties, and disappoint- 
 ments which beset us. 
 
 At the outset two " tyrannic thoughts " took 
 possession of my mind. One was, that if we 
 could enlist the help of the Punch staff we 
 should be certain of success ; and the other was 
 that if Lady Martin (Helen Faucit) could be 
 induced to come from her retirement arid play 
 Rosalind, success would be doubly sure, and the 
 event would become historic in the annals of the 
 Stage. The latter idea was realised ; the former 
 partially. Our earliest efforts seemed destined 
 to be crowned with success, and I insert a copy 
 (on next page) of the first circular that was issued 
 in regard to the coming event. 
 
 As may be imagined, the issue of this circular 
 caused quite a sensation. AppHcations for tickets 
 poured in from London, and other parts of the 
 country, and so hopeless appeared the task of 
 allotting places that the Committee determined 
 to open the box office on a certain day for places 
 to be secured in the ordinary way. 
 
268 
 
 An Architect's Experiences: 
 
 CALVERT BENEFIT DEMONSTRATION. 
 
 THEATRE ROYAL, MANCHESTER. 
 
 October 1st and 2nd, 1879. 
 
 ''AS YOU LIKE irr 
 
 Cbaracters, 
 
 DoKE (living in exile) . 
 First Lord . 
 Second Lord 
 Amiens (with Songs) . 
 Jaques . 
 
 Duke Frederick (Usurping) 
 
 Le Beau 
 
 Charles (the Wrestler) 
 
 Oliver 
 
 Jaques de Bois . 
 
 Orlando 
 
 Adam | 
 
 Touchstone f 
 
 CORIN 
 
 Sylvius 
 
 William 
 
 Rosalind (First Night) 
 
 Rosalind (Second Night) . 
 
 Celia 
 
 Phebe . 
 
 Audrey 
 
 . B. Lee, Esq 
 
 J. D. Watson, S.P.W.C. 
 
 J. Charlton, Esq. 
 
 G. DU Maurier, Esq. [Pimch] 
 
 A. Darbyshire, F.I.B.A. 
 
 / Henry J. Jennings, Bsq. 
 1_ IBirniinghmn Mail), 
 
 L. Alma Tadema, R.A. 
 
 Edmund Yates, Esq. 
 
 A. H. Marsh, Esq. 
 
 Ben Beierley, Esq. 
 
 Hon. Lewis Wingfield. 
 
 . Tom Taylor, Esq. 
 
 . LiNLEY Sameourne, Esq. (Punch) 
 
 /Arthur C. Poole, Esq. {Manchester 
 [ Histrionic Society). 
 
 F. C. Burnand, Esq. (Punch) 
 
 Miss Helen Faucit. 
 
 . Miss Wallis. 
 
 Miss Kate Patiison. 
 
 f Miss Ross (Manchester 
 \ Histrionic Society). 
 
 . Miss Emma Toms (Theatre Royal). 
 
Professional, Artistic, and Theatrical. 269 
 
 LORDS ATTENDING ON USURPING DUKE AND BANISHED 
 DUKE — By Gentlemen Amateurs. (Members of Dramatic 
 Societies of Manchester). 
 
 FIRST FORESTER— Edwi^ Wadgh, Esq. 
 
 LADIES OF THE COURT AND SHEPHERDESSES— By Lady 
 Amateurs of Manchester. 
 
 The Chorus will be composed of the Royal and Prince's Choirs, 
 under the direction of Mr. Yarwood, Composer of Ballad Music, &c. 
 
 The Orchestra will be conducted by Dr. Arthur Sullivan his 
 health permitting). 
 
 The Memorial Programme will be designed by H. Stacy Marks, 
 R.A. 
 
 The Address will be written by H. M. Acton, Esq. (Manchester 
 Guardian), and which the Committee trust will be spoken by Miss 
 Braddo.v, the distinguished novelist. 
 
 The Theatre will be placed at the disposal of the Committee by 
 the kindness of the Lessees, Messrs. Duffield and Lawton. 
 
 Mr, T. Crook, of the Theatre Royal, will kindly rehearse and 
 superintend the music. Mr. John Byrnes and his staff will render their 
 services, and the production will be under the control of Mr. E. 
 Edmonds, who will kindly assist the Committee in mounting the Piece 
 in a complete and efficient manner. 
 
 The Costumes will be under the control of the Committee, and the 
 first Stage Rehearsal will take place on Tuesday, September 3Cth. 
 
 All information as to the production of the Piece and Cast may be 
 obtained from Mr. Darbyshire, College Chambers, Brazennose Street, 
 Manchester, or at the Theatre Royal. 
 
 The programme-circular was a wonderful docu- 
 ment, and quite historic in importance. But alas ! 
 it soon became evident that it must undergo con- 
 siderable change and modification. With its 
 issue the period of worry and trouble began. I 
 was most anxious that the address should be 
 spoken by Miss Braddon : in early life she was 
 
270 An Architect's Experiences : 
 
 in Mr. Calvert's dramatic company, and played 
 under the stage name of Mary Seyton in some 
 towns, I think, on the South Coast. But it 
 was not to be ; a letter from her husband, Mr. 
 Maxwell (the publisher), dated from Lausanne, 
 told me of her illness, and how incapable she 
 was of speaking the address. This question ot 
 speaking the address was surrounded by mis- 
 fortune from beginning to end. Lady Sebright 
 very kindly promised to undertake the duty, 
 and Mr. Acton's beautiful lines were sent to 
 her : all went well till the day before the first 
 performance. After a rehearsal a telegram was 
 placed in my hand from her ladyship's maid, 
 saying that she had been thrown from her horse, 
 and was lying in an unconscious state surrounded 
 with blocks of ice, or something to that effect 
 I felt stunned and helpless. Mrs. Duffield, the 
 wife of the lessee (formerly known in the pro- 
 fession as Miss Margaret Cooper), Hke a good 
 angel, came to the rescue ; sat up all night trying 
 to get the words ; but alas ! she was so nervous 
 that they left her at night, and " prompting " 
 was necessary. However, the lines were spoken ; 
 and so ended one phase of the Memorial Per- 
 formances. 
 
 One by one of the great names dropped out 
 of the cast. The late George du Maurier found 
 his voice not equal to the songs ; Linley 
 Sambourne, Frank Burnand (now editor of 
 
Professional, Artistic, and Theatrical. 271 
 
 Pimch), and Alma Tadema begged off. Those 
 who could regard the situation from a humorous 
 point of view said it was "stage fright": per- 
 haps it was. Anyway, their places had to be 
 filled, and by men of repute in the literary and 
 art worlds. To add to our troubles, Edmund 
 Yates fell ill, and my hopes of effecting a recon- 
 ciliation between the editors of The World and 
 Punch were scattered to the winds. 
 
 However, good men and true were soon found. 
 Herman Merivale offered to play Touchstone ; 
 dear, gentle Arthur Matthison undertook Amiens, 
 and sang "Blow, blow, thou wintry wind" as 
 no one else could sing it. Tom Taylor doubled 
 the parts of Adam and Corin ; and an old friend, 
 good Mrs. Saker (now, alas ! the widow of Edward 
 Saker), accepted the part of Audrey. Sir Arthur 
 Sullivan's illness robbed us of his services, and 
 our old friend Alfred Cellier came to the rescue. 
 With these changes we commenced the re- 
 hearsals. 
 
 Those rehearsals dwell in my memory as 
 curious experiences. In this crowd of distin- 
 guished men there seemed two elements of 
 trouble and disaster. Herman Merivale and 
 Tom Taylor, being used to the stage and its 
 conventionalities through the production of their 
 own dramas, assumed a right to " boss " the 
 "show," to which the professional ladies ob- 
 jected. Then, again, some of those amateurs 
 
272 An Architect's Experiences: 
 
 were absolutely ignorant of the stage and its 
 ways : hence the frequent loss of temper on the 
 part of those who did know the requirements 
 of dramatic art. 
 
 I shall never forget the effect on everybody 
 when Lady Martin was on the stage. No one 
 dare speak to her ; she went through the work 
 as though she were actually playing the part. 
 We stood spell-bound before her dignity, her 
 splendid presence, her musical voice, and 
 rhythmical utterance of blank verse — nay, more, 
 we applauded vigorously ; poor Wingfield was 
 bewitched and forgot his words, and as far as 
 our own individual work was concerned, we were 
 demoralised. I well remember that at the close 
 of the rehearsal. Lady Martin said to me, " You 
 know I do the scene with Jaques according to 
 the text, I suppose ? " I said I was not aware 
 of the fact. "Had we not better do the scene ?" 
 I asked. "Oh, no," she replied, "you will be 
 all right, I know." Although I accepted this 
 speech as complimentary, I said, in reply, " But 
 where do we come on, and go off? " She gave 
 me one of her beautiful smiles, and said, " Watch 
 me at night, for this scene, and follow me on ; 
 we will do it naturally." I must say a good 
 word for the foresters and "supers." They were 
 all men of high intelligence, and of repute in the 
 worlds of literature and art : they entered heartily 
 into the work, and the consequence was a 
 
Professional, Artistic, and Theatrical. 273 
 
 pictorial result of much beauty in the forest 
 scenes. In a long and critical notice of these 
 performances in The Era, the writer said of our 
 supers: "Whatever difference of opinion may exist 
 as to the merits of amateur as compared with 
 professional actors, there can be no question that 
 gentlemen, when they undertake the unambitious 
 office of ' supers,' are more capable of training 
 than the average professional super. And so it 
 was, that in the scenes where the exiled Duke 
 is represented as surrounded by his sylvan court, 
 there was an absence of woodenness, so to speak, 
 on the part of the non-speaking portion of the 
 company that was highly refreshing. During the 
 delivery of the 'Seven Ages' speech, some excel- 
 lent business was introduced by the foresters 
 gathering round Jaques in a closer circle, as the 
 interest in his oracular deliverance increased. 
 But we fear the appearance of an intelligent 
 interest in what transpires is only possible with 
 such exceptional supers as these." 
 
 It would be a matter of ease to fill a volume 
 with the humours of these rehearsals, and in 
 recording the pleasant social scenes enjoyed with 
 our distinguished visitors, in the hospitable homes 
 where they were domiciled, but I pass on to the 
 performances. 
 
 After three months of worry and anxiety, the 
 night of the ist October arrived. Alfred Cellier 
 took his seat in the orchestra, amidst a reception 
 
 T 
 
274 -An Architect's Experiences: 
 
 that showed how he was valued and respected by 
 his Manchester friends. The Shakespearian over- 
 ture was played, and then the "Address" was 
 spoken. This address was written by Mr. H. M. 
 Acton, so long honourably associated with the 
 Manchester Guardian, and an old friend of Calvert's. 
 
 ADDRESS. 
 
 Written by Mr. H. M. Acton. 
 
 Stalls, pit, and gallery thronged, above, below 1 
 
 What kindling motive prompts this glittering show? 
 
 Small need to ask — the sympathetic eye 
 
 And saddened smile are quick to make reply. 
 
 Beneath this roof, where, many a time, in quest 
 
 Of mirthful pastime, eager feet have pressed — 
 
 Where you and pleasure have so often met — ■ 
 
 You come to-night to pay a generous debt ; 
 
 To honour one now lowly laid, who bore 
 
 The Master's part in those glad scenes of yore. 
 
 He ruled this mimic kingdom, and how well 
 
 He swayed its sceptre none like you can tell. , 
 
 The actor's calling — arduous at the best — 
 Hard school for vanity, and foe to rest — 
 Knows nothing worse, in all its list of ills. 
 Than when the sense of disappointment chills. 
 Who counts what aids of Heaven and Art unite 
 To form the whole that yields an hour's delight ? 
 What careful pains and studious toil prepare 
 Effects which charm with seeming want of care ? 
 Fame's our reward 1 but Fame's inconstant gale 
 Not always swells the most deserving sail I 
 With varying tastes, the treacherous standard shifts. 
 And Merit droops where praise crowns meaner gifts — 
 So frail our trust ! But none who Calvert knew 
 Will doubt his place among the foremost few. 
 Endowed by Nature, in a hberal hour. 
 With no small share of the great actor's power. 
 
Professional, Artistic, and Theatrical. 275 
 
 To every rendered phase of life he brought 
 Rich stores of cultured taste and earnest thought; 
 So nothing that he touched seemed tame or dim, 
 And Shakespeare's self spoke worthily through him. 
 True to the art he loved, whoe'er might fail. 
 He served her altar, though its fire grew pale. 
 
 Nor think that, when the actor's meed is paid, 
 
 Large e'en as he deserved, the whole is said. 
 
 Turn next where kindred arts their grace combine 
 
 To bid Illusion's perfect triumph shine : 
 
 The glowing canvas, the voluptuous light, 
 
 The long-drawn pomp, the group that speaks at sight ; 
 
 The self-same garb his living heroes wore, 
 
 And all their harness mocked with loving lore. 
 
 On themes like these bestowed, his ardent zeal 
 
 Made scenes, but half conceived before, seem real : 
 
 Arden's green glades, Miranda's island-home, 
 
 The martial grandeur of Imperial Rome, 
 
 The quays of Venice, Wolsey's princely halls, 
 
 Dover's white cliffs, and Harfleur's peopled walls ; 
 
 All these arise, till, every access gained. 
 
 The captive senses scarce believe them feigned. 
 
 In vivid truth the poet's past returns ; 
 
 In actual fire Sardanapalus burns ; 
 
 And, fashioned as he lived, in sword and shield, 
 
 Our English Harry leads his troops a-field 1 
 
 His claims were these : and if a thought arise 
 Of feelings based on nearer, homelier ties ; 
 Of her, companion of his struggling days. 
 Who shared their labour and partook the praise; 
 Of children whom this hour may spur to fame. 
 Proud of the pride that decked their father's name ; 
 Reflect that where the deadliest blow was dealt. 
 You helped to make the pang less keenly felt ; 
 That while you paid to public worth its due, 
 A mourning hearth found faithful friends in you; 
 And think with pleasure 'twas your hands that gave 
 A wreath of laurel to your favourite's grave. 
 
276 An Architect's Experiences: 
 
 After the applause which greeted the conclusion 
 of the Address had subsided, the curtain rose, 
 discovering Tom Taylor as Adam, and the Hon. 
 Lewis Wingfield as Orlando. From the recep- 
 tion accorded to these two distinguished men, it 
 was evident that the event was to be received with 
 enthusiasm. It may at this point be desirable to 
 insert a copy of the final programme. (See pages 
 278-279.) The only variation in it was caused by 
 Linley Sambourne failing us at the last moment. 
 Tom Taylor, who I believe was ready to fill every 
 part in the piece, "doubled" Sambourne's part of 
 Corin with his own fine impersonation of old Adam. 
 
 The crowded audiences who witnessed those 
 two memorable performances of "As You Like 
 It " had no idea of the confusion and anxiety 
 caused by the presence of two Rosalinds in the 
 field. Each, of course, had different ideas of 
 the character and its " business," and the conse- 
 quence was that some of the actors got mixed ; 
 some forgetting in their excitement whether it 
 was the Wallis night or the Faucit night ; even 
 the little prompter, Dempsey (who, by-the-way, 
 was a well-known character in the profession), 
 got his prompt-books mixed, and when I remon- 
 strated with him on a blunder, either of business 
 or scenery, held up his hands in agony and 
 exclaimed, " For heaven's sake tell me, is it 
 Faucit or is it Wallis to-night ? " As I have 
 before said, I was honoured with a scene with 
 
Professional, Artistic, and Theatrical. 277 
 
 Lady Martin, and I think as I went through it, 
 we two alone on the stage, it seemed to me not 
 only the proudest moment of my life, but almost 
 a dream. There I stood with the " Goddess of 
 my Idolatry," the grand and noble woman, the 
 finest actress of Shakespearian heroines since the 
 days of the immortal Sarah Siddons. The wonder 
 now to me is that my head was not fairly turned 
 with the glamour of the situation; but, somehow, 
 the great genius of the woman carried me along 
 like a torrent. I saw no audience, I heard nothing 
 but the immortal words we had to speak. There 
 was dead silence at the crowded wings, and in 
 the densely-packed auditorium. When we had 
 finished, there stood Orlando at the wing ready 
 to come on ; but the idea that he had to do so 
 seemed completely to have forsaken his mind. 
 I had to step to the wing and say: " Wingfield, 
 are you coming on or not ? Rosalind is waiting." 
 I mention this little incident as it illustrates the 
 powerful effect which the genius of Helen Faucit 
 had upon those men of literature and art. 
 
 I am here reminded of the speech of Herman 
 Merivale with which I opened my first chapter 
 on Theatrical experiences. Helen Faucit has 
 never trod the stage since that ist of October, 
 1879, and I was the last Jaques to whom she 
 addressed the words of the immortal Master. It 
 was a curious coincidence, and the event will 
 always dwell pleasurably in my memory. 
 
278 
 
 An Architect's Experiences: 
 
 programme. 
 
 The Address, written by H. M. Acton, Esq., will be spoken by 
 Mrs. JOHN DUFFIELD, 
 
 WHO HAS KINDLY UNDERTAKEN THE DUTY IN THE AESENXE OF 
 
 The Hon. LADY SEBRIGHT. 
 
 Sbaftspeare's Come&g 
 
 ''AS YOU LIKE irr 
 
 . . '^vavnatis ^ersonae . . 
 
 Duke (living in exile) . . . B. Lee, Esq. 
 
 Duke Frederick P''°'^^'' *° ^^^ ^"''^' ^-nd) Henry J. Jennings, Esq., 
 [ Usurper of his Dominions ) (Birmingham). 
 
 J. D. Watson, Esq., S.P.W.C. 
 
 John Hollingshead; Esq. 
 
 Lords attending 
 
 upon the Duke in 
 
 his Banishment. 
 
 First Lord 
 
 Second Lord 
 
 Third Lord 
 
 Fourth Lord 
 
 Fifth Lord 
 
 Amiens (with Songs) 
 
 Jaques 
 
 Le Beau 
 
 Charles (the Wrestler) 
 
 Oliver 
 
 Jaques 
 
 Orlando . 
 
 Adam 
 
 Touchstone 
 
 CORIN 
 
 Sylvius . 
 
 William . 
 
 First Forester 
 
 Rosalind (Wednesday, October istj 
 
 Sons of Sir 
 Rowland de Bois 
 
 r Shepherds 
 
 Rosalind (Thursday, October 2nd) 
 
 Celia 
 
 Phebe 
 Audrey 
 
 Stage Manager 
 
 . G. DU Maurier, Esq. 
 
 . R. Watson, Esq. 
 
 . W. Calder, Esq. 
 
 Arthur Matthison, Esq. 
 
 A. Darbyshire, Esq., F.I.B.A. 
 
 C. Napier Hemy, Esq. 
 
 R. J. Davies-Colley, Esq. 
 
 A. H. Marsh, Esq. 
 
 W. G. Baxter. Esq. 
 
 Hon. Lewis Wingfield. 
 
 Tom Taylor, Esq. 
 
 Herman Merivale, Esq. 
 
 Linley Sambourne, Esq. 
 
 . Arthur Poole, Esq. 
 
 John Cavanah, Esq. 
 
 . Edwin Waugh, Esq. 
 
 Miss Wallis. 
 
 ( Miss Helen Faucit (Mrs. Theodore 
 
 { Martin, now Lady Martin). 
 
 J Miss Kate Pattison (By kind permission 
 
 [ of Messrs. Hare and Kendal). 
 
 Miss Emma Toms (Theatre Royal). 
 . Mrs. Edward Saker. 
 Mr. E. EDMONDS. 
 
Professional, Artistic, and Theatrical. 279 
 
 CHORUS — Messrs, Downs, Fildes, Boardman, Fairhurst, Fawley, 
 Becket, Allen, Wolstencroft, Broomhall, Kenyon, Page, 
 Smethurst, Muddiman, Lees, Law, Ruddock, Higson, Hart, 
 Foulkes, Lynch, Dixon, Ray, Walton, Openshaw, Williamson. 
 
 LADIES OF THE COURT AND SHEPHERDESSES— Mrs. Juliet 
 Smith, Mrs. Thorpe, Miss Dow, Miss Harlow, Miss Ritchie, 
 Miss Catterall, Miss Lynch, Mrs. Lynch. 
 
 Mr. YARWOOD, Chorus Master. 
 
 LORDS ATTENDING UPON DUKE FREDERICK— Walter Lees, 
 D. Anderson, F. Elkington, W. Humphreys, R. S. Nadin, 
 H. Pagden, R. Daniels. 
 
 FORESTERS— W. Adams, A. Marriott, W. H. Rumsey, W. H. Meakin, 
 A. T, Forest, T. Cavanah, J. W. McGowan, J. Marriott, 
 R. Winstanley, D. a. Murray, J. Harwood, J. Roberts, 
 R. Pollitt, J. H. E. Partington, Charles Potter, H. Wat- 
 kinson, W. Meredith. 
 
 Shakespearian Overture . . Sir H. Bishop. 
 
 •Arthur Sullivan. 
 
 i Specially composed for the 
 The Lorenzo Masque I Revival of the Merchant 
 ( of Venice. 
 
 Pageant MUSIC . {^P-ially c<,ngosed for^the|^ 
 
 |Spet!iL7'i^aX'na?Il^^.1 F™- ^lay. 
 Musical Director Mr. J. CROOK. 
 
 MACHINIST— Mi. John Byrnes. | GAS ENGINEER— Ml. J. Watmough. 
 
 dottiuctoi' of tbe ®tcbeeti'a : 
 
 Mr. ALFRED CELLIER. 
 
 THE THEATRE placed at the disposal of the Committee by the Lessees- 
 Messrs. DuFFiELD and Lawton. 
 
 ^ gCE]^E *^ 
 
 First near Oliver's House ; afterwards partly in the Usurper's 
 Court and in the Forest of Arden. 
 
 <ir 3FHE JdW^WTi^ PI^0GR^jajaE i> 
 
 has been specially designed by 
 
 H. STACY MARKS, Esq., R.A. 
 
 And the Original Drawing presented by him to the Committee. 
 
28o An Architect's Experiences: 
 
 It is not my intention either to criticise or to 
 comment on the genius of Helen Faucit : she 
 was as an actress beyond criticism and beyond 
 •comment. This truth was ratified in Manchester 
 in the evening of the great actress's hfe. When 
 she entered the stage, leaning on the arm of 
 Celia (Miss Kate Pattison), the house rose en 
 masse, and both from before and behind the 
 curtain rose a thunder-clap of applause which at 
 first seemed to frighten her ; then tears came, 
 she broke down completely, and leaned on Celia 
 for support. The audience saw the situation and 
 calmed their enthusiasm ; in a few moments that 
 beautiful voice rang through the theatre, and the 
 play got fairly launched on its amateur career. 
 
 There were some amusing incidents occurred 
 •during the performance. Edwin Waugh, the 
 Lancashire poet, was the First Forester. 'His 
 genial heart and quaint ways had charmed many 
 of his distinguished confreres; he had only one 
 line to say (" 'Twas I, my lord") in answer to 
 the enquiry of Jaques as to who killed the deer ; 
 but he was so busy thinking of something else, 
 or making old Adam almost ill with suppressed 
 laughter at the " wing " by his side-splitting 
 stories, that he even forgot this little bit of 
 " study." For the sake of giving that great 
 Lancashire audience a chance of a hearty wel- 
 come to its favourite poet, I arranged he should 
 have a separate entrance immediately on the 
 
Professional, Artistic, and Theatrical. 281 
 
 question being asked. The question was asked, 
 but no Edwin Waugh was visible to answer. 
 Arthur Matthison (Amiens) took up the cue. In 
 about two minutes afterwards Waugh came on, 
 looking more like a trussed fowl than anything 
 else. As soon as the warmth of his reception 
 cooled, he shouted out at the top of his voice, 
 " 'Twas I, my lord." Then a roar of laughter 
 from the audience told him there was something 
 wrong or amusing. As the glee was being sung, 
 Matthison said: "He looks very awkward stand- 
 ing there alone; I'll go to him and congratulate 
 him on the slaughter of the deer." He had 
 hardly shook hands with him when he recrossed 
 the stage behind the singers, laughing to such 
 an extent that I thought he would have to leave 
 the scene. It seems that Waugh had resented 
 his cue being taken by Amiens. He said, in 
 his broad Lancashire dialect : "It were thee, 
 were it ? Just thee wait till this play's over, 
 
 and I'll warm thy d 1 for thee ! " However 
 
 the two poets became firm and fast friends. 
 Waugh committed the same blunder the second 
 night, and Matthison again took up the cue. 
 Peace be with them. They have both gone to 
 their long rest. 
 
 Herman Merivale, in a magazine article, re- 
 corded some curious incidents of the performance. 
 He wrote: "There was our fine doyen Tom Taylor, 
 an ideal Adam, brimful of Shakespearian enthu- 
 
282 An Architect's Experiences: 
 
 siasm, and ready to play every part in the piece. 
 I blame him not, for so was I. Did he not rush 
 upon an eminent painter whom he had never seen 
 before, with a sudden and introductory adjuration 
 of some force to ' turn his toes out ' ? And did 
 not the painter take it in the best possible 
 part, with infinite amusement ? There was the 
 banished Duke, a trained amateur, who gave a 
 rock-like impression of security, and upset the 
 entire apple-cart in the last scene by forgetting 
 his part, and then looking reproachfully at 
 Touchstone, who thought it must be Jaques, 
 who thought it was Touchstone. Neither of 
 us could have suspected that Dook, till I found 
 him out in the book afterwards. There was 
 Duke Frederick, who forgot to say ' How dost 
 thou, Charles ? ' as I, Touchstone, knelt over 
 the fallen wrestler. Whereupon, after a pause, I 
 volunteered the information, ' He cannot speak, 
 my lord.' 'Oh, ah,' said his Grace, recalled to a 
 sense of duty; "How dost thou, Charles?' And 
 to my lips, as a dramatist, rose the necessary 
 repartee : ' I have just told you, my lord, that 
 he can't speak ; why ask him ? ' But I crushed 
 it sternly." 
 
 The dressing of the piece was a matter of 
 much interest and discussion. Most of the men 
 who had the principal characters allotted to 
 them had hirsute appendages which they would 
 not cut off — no, not even for Shakespeare! My 
 
Professional, Artistic, and Theatrical. 283 
 
 suggestion was adopted that we should dress in 
 what may be called the Holbein style ; we, there- 
 fore, adopted the English Renaissance costume 
 of the time of Henry VIII., and the result was 
 eminently satisfactory and picturesque. We had, 
 however, to run the gauntlet of the sketcher 
 and the newspaper illustrator. Both on and off 
 the stage we could hardly turn round without 
 seeing a crowd of these gentlemen busy at work ; 
 they followed one about, and even confronted 
 their subjects with, "One moment, sir"; "Thanks 
 — that will do," &c. J. D. Watson, with that 
 enthusiasm which characterised his actions when 
 picturesque costume was in the ascendant, actu- 
 ally put on an Inverness cloak and coolly went 
 into the stalls to draw Rosalind. We may be 
 thankful for this eccentric action, for it gave to 
 the Graphic an excellent full-length portrait of 
 Helen Faucit, the last taken of her in stage 
 attire and in the character of that immortal 
 heroine she loved so well. I take some pride 
 in the recollection that the Calvert Memorial 
 performances were successful from an artistic 
 point of view. We were earnestly solicited to 
 transfer the whole affair to the Metropolis ; but 
 as one and all declared they would not go 
 without their goddess, Helen Faucit, the idea 
 was abandoned. That they were successful finan- 
 cially was, of course, the main cause for congratu- 
 lation. Everybody appeared con amove. There 
 
284 All Architect's Experiences: 
 
 was nothing to pay of any consequence. H. 
 Stacy Marks, R.A., gave us his beautiful drawing 
 for the back of the programme ; this we sold 
 for a large sum, which was added to the pro- 
 ceeds. The amount realised was little short of 
 ;^i,ooo, which was placed m the hands of trustees 
 for the benefit of the dear ones left behind by 
 the man whose memory we all delighted to 
 honour. 
 
 I have incorporated thus much of Calvert's 
 career in these " Experiences " because it is 
 now generally admitted that his work was good, 
 healthy, and noble in its aspirations ; and because 
 Avhat he did for the Stage in Manchester affected 
 the theatrical enterprise of the country ; and 
 lastly — because I was so intimately associated 
 with his work and professionally connected with 
 the little building in which his noblest efforts 
 were made 
 
 Perhaps nothing better has been said of Calvert 
 and his work than in the utterance of the late 
 noble Bishop Eraser, at the Social Science 
 Congress held in 1879. He said : — 
 
 In the present state of artistic and literary education, the taste 
 of our people is so coarse and unrefined, that it is almost impos- 
 sible to prevent their amusements from degrading into vulgarity 
 and indecency. Mrs. Theodore Martin, with that generosity which 
 is characteristic of her, is this very night performing in the 
 Theatre Royal, as a mark of respect to the memory of the late 
 Mr. Charles Calvert, who did so much, not in Manchester only, 
 but in other provincial towns, to uphold the character of the 
 Stage. I remember well on one occasion, when I endeavoured to 
 
Professional, Artistic, and Theatrical. 285 
 
 show in public my approbation of his efforts — for which I am 
 afraid I fell into the black books of many sincerely good, but 
 gloomy people — that in acknowledging what I said, he told me 
 what up-hill work he found it, and how constantly his aims were 
 defeated by the vicious public taste, not only of the lower class — 
 which preferred what was indelicate, and prurient, and revolting. 
 
 With the death of Charles Calvert, it may 
 truly be said that the decay of the Manchester 
 Stage commenced. Those who have followed 
 the history of that stage know to their sorrow 
 that this is an undoubted fact. There are two 
 causes for this decadence : in the first place, the 
 conversion of the Prince's and Royal properties 
 into a limited liability company, and consequently 
 into a monopoly, was the death-blow to sentiment,, 
 poetry, and art ; and secondly, after failing in 
 their own management, the directors let the 
 theatres to managers who have had no inclina- 
 tion to stake their capital on the higher and 
 nobler aims of the Drama. The effort made by 
 Calvert and his partner Browne was universally 
 respected and encouraged, and a vast amount of 
 prejudice against the Theatre was removed. After 
 what I have quoted of Bishop Eraser's utterance 
 at the Science Congress, it will readily be believed 
 that I once heard him tell Calvert that the 
 Theatre, in his hands, might run with the Pulpit 
 in its influence for good. The pubhc utterances 
 of the noble-hearted prelate in connection with 
 theatrical amusements, always tended towards this 
 fact. Manchester people who had been accus- 
 
286 An Architect's Experiences: 
 
 tomed to the higher art of Charles Calvert, 
 hurled back the "sacred lamp of burlesque," and 
 sent its crestfallen advocates back to London, 
 wiser but sadder men. The Prince's Theatre 
 was doomed from this time, and the Theatre 
 Royal has drifted, from similar causes, into a 
 condition which, considering the traditions of 
 the house, is absolutely melancholy. 
 
 It is sometimes said that the higher art of the 
 Stage will not pay, and that Shakespeare means 
 ruin to the present race of managers ; but in 
 spite of such arguments, I have no hesitation in 
 saying that if the managers or directors would 
 hold out the proper encouragement, a man or 
 men would be found, ready to prove that Shake- 
 speare means anything but ruin. Almost as I 
 write (after many years of decadence) it is 
 interesting to be able to prove the truth of the 
 statement. And, curiously enough, it is through 
 the medium of Calvert's son Louis, that this 
 proof has come. It has been an interesting and 
 gratifying sight to behold a third-rate theatre in 
 Manchester (because those in charge of the first- 
 rate theatres had not the pluck or inclination to 
 risk the experiment) crowded nightly for weeks 
 to witness young Calvert's production of the first 
 part of " Henry IV." So unusual was the event 
 that London managers and pressmen came down 
 to see the piece, and Mr. Tree ran the play in 
 London on alternate nights with the famous 
 
Professional, Artistic, and Theatrical. 287 
 
 "Trilby." The play was mounted from a 
 slender purse ; but such was the intelligence and 
 culture of its producer, and so excellent was the 
 acting, that recognition was instant, and success 
 phenomenal. 
 
 In Manchester there has recently been another 
 proof that a programme of " legs " and burlesque 
 vulgarity must give way to a healthy, clean bill- 
 of-fare. The spectacle of a theatre (the Comedy) 
 running a pantomime twice a day for three 
 months to crowded houses (without even a sug- 
 gestion of uncleanness or music-hall coarseness in 
 it) has not been witnessed for the last fifteen years 
 in the city, where theatre-goers of culture and 
 intelligence have had to turn the cold shoulder 
 on theatrical enterprise during this long period 
 of the decay of the Manchester Stage. 
 
 Those who patiently study the fashions of 
 the times, detect a disposition to return to the 
 higher forms of art, even in amusements ; and 
 I venture to think the day is not far distant 
 when the policy of such managers as Kean, 
 Calvert, Irving, Tree, and Benson, will be 
 universally acknowledged ; and when the unclean 
 drama, the filthy and flippant literature, now 
 passing current, will be consigned to that oblivion 
 and darkness for which there is no morning 
 light. 
 
288 An Architect's Experiences: 
 
 CHAPTER XXI. 
 
 T HAVE placed the name of the foremost man 
 -^ of his time in connection with the art of 
 the Stage at the head of this chapter. I have, 
 however, no intention of deahng in detail with 
 the life and work of Henry Irving, beyond that 
 portion with which I have been in various ways 
 associated, and by which I have secured one of 
 the most interesting and pleasant friendships of 
 my life. • 
 
 I have before alluded to the gatherings of 
 that famous Stock Company of the Manchester 
 Theatre Royal at " Cox's," during the late fifties 
 and early sixties: it was in the year i860, on 
 September 2gth, that the young actor, Henry 
 Irving, made his first bow to a Manchester 
 audience, as a member of this historic stock 
 company, in a piece called "The Spy; or, a 
 Government Appointment," and in the charac- 
 ter of Adolphe, a young carpenter.* Charles 
 
 * It is interesting to note that on the same occasion Miss Louisa 
 Angel (afterwards the celebrated leading lady of the famous Hay- 
 
Sn-; IlENKV JK\'iN(r, I). Lit. 
 
 J''i'om the puturc by llie lute Sir J. E. Milluis, Barf., I'.R.A. 
 
 En^ruvfil by Thomas Oldham Barlow, R.A. 
 
 By permission of Arthur Lucas, London, publisher of the large engraving. 
 
Professional, Artistic, and Theatrical. 289 
 
 Calvert was then manager for John Knowles 
 at the Theatre Royal ; he took an immediate 
 interest in the young recruit, and a friendship 
 resulted between them of which many interesting 
 anecdotes might be told. It was curious that 
 I should have my introduction to Irving through 
 my friend Calvert, and that between the two 
 men I should have enjoyed two of the most 
 cherished friendships of my life. 
 
 It was not long before Henry Irving won his 
 way to the hearts of Lancashire audiences^ 
 and when he said farewell to them in 1865 the 
 event was marked by much enthusiasm. I was 
 elected a member of a committee, constituted 
 for the purpose of organising a series of farewell 
 benefits, and to speed the departing actor on his 
 London career, under the auspices of the late 
 Dion Boucicault, at the St. James's Theatre. 
 The first benefit performance took place at the 
 Free Trade Hall, Manchester. This event was 
 of such importance that I shall insert the pro- 
 gramme (page 290). 
 
 The exposure of the tricks of the Davenport 
 Brothers was a triumph ; and Mr. Irving's 
 imitation of the celebrated Doctor Fergusson 
 was a magnificent piece of satire. Speaking 
 of this portion of the performance, the Manchester 
 
 market Company) made her first appearance, and that her co- 
 debutante was Miss Henrietta Hodson, now known in London 
 Society as Mrs. Henry Labouchere. 
 
 U 
 
290 An Architect's Experiences: 
 
 FREE TRADE HALL.— Wed., April 12, 1865. 
 
 Mr. henry IRVING'S 
 
 FAREWELL BENEFIT. 
 
 The following ladies and gentlemen have kindly volunteered 
 their Services (by permission of Mr. Charles Calvert) : — 
 
 Miss ALICE DODD. 
 
 Miss FLORENCE HAYDON. 
 
 Miss MAUD HAYDON. 
 
 Mr. FREDERICK MACCABE. 
 
 Mr. PHILIP DAY. 
 
 Assisted by Captain Lathbury, together with Messrs. John 
 Cavanah and W. Ellis, of the Manchester Athena2um Literary and 
 Dramatic Society ; and Mr. E. Howard, of the De Trafford Club. 
 
 An Address, written by Fox Turner, Esq., will be delivered 
 by Mr. Henry Irving. 
 
 The Performance will commence with the COMEDIETTA of 
 
 "WHO SPEAKS FIRST." 
 
 Mr. Maccabe will appear in a selection from his popular 
 entertainment, " Begone Dull Care," and will recite (in charac- 
 ter) the poem of " Shamus O'Brien." 
 
 SONG . . . "Home, Sweet Home" . Miss Alice Dodd. 
 
 THE MYSTERY OF 
 
 THE CABINET and DARK SEANCE 
 
 (d la Davenport) 
 
 Will be explained and produced without the aid of darkness by 
 Messrs. Maccabe and Day, assisted by Mr. Irving as the Doctor. 
 
 To Conclude with the FARCE of . 
 
 "RAISING THE WIND.' 
 
 Mr. McQuADE will conduct the Band of the 64th Regiment. 
 
Professional, Artistic, and Theatrical. 291 
 
 Guardian said: "The hall was crowded with an 
 enthusiastic audience. The whole of the tricks 
 were speedily accomplished, and the exposure 
 was most complete and satisfactory to the audi- 
 ence, who made the hall ring alternately with 
 laughter and applause." 
 
 The inhabitants of Bury (an important town 
 near Manchester) were anxious to have a share 
 in these farewell performances, and a committee 
 was formed for carrying out this object. This 
 event will always dwell vividly in my memory, 
 inasmuch as I had the pleasure of playing in 
 both the tragedy and the farce. When I look 
 back to those far-off days, it seems almost a 
 dream, and I can scarcely realise the fact that I 
 once " trod the boards " with the man, who is 
 still my friend, and the only actor ever honoured 
 with a title by the Sovereign of these realms. 
 What a change has come over the history of the 
 Stage since the time I am writing of! What a 
 transformation ! Prejudice against the actor and 
 his art has almost disappeared.* Men and women 
 of culture are proud to be enrolled members of 
 
 "-'= The strongest piece of evidence of the decay of prejudice 
 against the Stage is the recent episode of a play-actor reading a play 
 within the sacred precincts of an English Cathedral. The scene in the 
 restored Chapter House of Canterbury Cathedral on the last day 
 of May, 1897, when Sir Henry Irving read Tennyson's play of 
 " Becket," will become historic in the annals of the English Stage: 
 when we remember that five-and-twenty years ago such an event 
 would not only have been regarded as a sacrilege, but as an utter 
 
2g2 An Architect's Experiences: 
 
 the profession ; and a Sovereign Lady has been 
 graciously pleased to acknowledge the powerful 
 influence of dramatic art for good, as presented 
 at the Lyceum Theatre by Sir Henry Irving. 
 
 It is a curious fact that the man or woman 
 of genius is never afraid of looking back upon 
 the days of small things. Early struggles amid 
 humble surroundings are regarded from the high 
 standpoint of success as pleasant memories; and 
 Sir Henry Irving is no exception in this respect. 
 I know that this performance of " Hamlet" in 
 the Lancashire town is remembered with pleasure 
 by the great actor and manager, and I therefore 
 have no hesitation in recording incidents of an 
 event which is historic in his career, and which 
 is a pleasant memory to myself. The programme 
 of the performance has been preserved, and may 
 with propriety be reproduced in these Temi- 
 niscences (pages 294-295). 
 
 Irving thoroughly enjoyed this initial perform- 
 ance of the great tragedy. I recollect he filled 
 both his fellow-actors and his audience with 
 enthusiasm. Indeed, the performance was such 
 a success that it had to be repeated the following 
 
 impossibility, we cannot but experience satisfaction and pleasure 
 at such an altered condition in the appreciation of the Theatre 
 and its functions. Whenever in the future the advance of civili- 
 sation in the Victorian Era is spoken of, the names of the greatest 
 actor of the time, Sir Henry Irving, and the cultured and 
 enlightened Dean Farrar of Canterbury will be coupled, and held 
 in honour by those who study the history of the English Stage. 
 
Professioml, Artistic, and Theatrical. 293 
 
 evening, and to another crowded house. Although 
 we were all impressed with the actor's rendering 
 of Hamlet, little did we dream that in after- 
 years our Prince of Denmark was to take the 
 world by storm by an accentuated and matured 
 rendering of the physicology of the part. It will 
 be observed that the Ghost on the occasion 
 was played by Mr. B. Lee. This gentleman 
 was a fine amateur, with a grand presence, and 
 deep voice. He played, as before recorded, the 
 Banished Duke in the Calvert Memorial per- 
 formances, in 1879. Mr. Lee was a great friend 
 of Mr. Irving's, and he was always present at 
 these farewell performances of 1865. 
 
 For some reason, which I have forgotten, the 
 Davenport business did not come off, and a 
 farce, " My Wife's Dentist," was put up at a 
 moment's notice. I remember Irving played 
 the title-role, and Lee and myself the other two 
 male characters. Shall I ever forget that farce? 
 Neither of us "got the words," and the nonsense 
 we talked was so dreadful that Irving frequently 
 dashed on the stage and very adroitly got us 
 off, amidst the uproarious laughter of the audi- 
 ence. 
 
 The " togs " for this performance were mostly 
 hired, and, as a matter of course, arrived at the 
 last moment. Poor Lee ! His helmet was made 
 for an ordinary cranium, and not for the fine 
 rounded head of our particular Ghost ; but by 
 
294 
 
 An Architect's Experiences : 
 
 AMATEUR DRAMATIC PERFORMANCE, 
 
 ATHEN^UM, BURY. 
 
 FOR ONE NIGHT ONLY, 
 
 Friday, June 23rd, 1865. 
 SHAKESPEARE'S TRAGEDY OF 
 
 "HAMLET, " 
 
 With NEW SCENERY, Painted expressly for the occasion by 
 Messrs. F. W. Livesey and T. Shaw. 
 
 To Conclude with an Exposure and Explanation of the so-called 
 SPIRITUALISM of the 
 
 DAVENPORT BROTHERS, 
 
 As recently given by Messrs. Irving, Macgabe, and Day, at the 
 Free Trade Hall, Manchester. 
 
 HAMLET . 
 
 THE GHOST . 
 
 Claudius 
 Horatio 
 rosencrantz 
 OsRic . 
 Marcellus 
 Bernardo 
 Francisco 
 guildenstern . 
 First Player 
 Second Player . 
 Second Gravedigger 
 Priest 
 
 HAMLET. . 
 
 ( Mr. henry IRVING 
 
 I {Late of the Theatre Royal, Manchester). 
 
 . Mr. B. lee. 
 
 By Gentlemen Amateurs of Bury. 
 
Professional, Artistic, and Theatrical. 295 
 
 POLONIUS , . A 
 
 Laertes . • L By Gentlemen Amateurs of Manchester. 
 
 First Gravedigger .) 
 
 The Oueen I Miss Reinhardt {From the Prince's 
 
 ^ ' ' ' \ Theatre, Manchester). 
 
 Ophelia f Miss Florence Haydon [From the 
 
 \ Prince's Theatre, Manchester). 
 
 First Actress . . / ^^% .^t''^, ^^^''?? ^f T^ "'' 
 
 \ Pnnce s Theatre, Manchester). 
 
 Exposure and Explanation of the so-called SPIRITUALISM 
 
 of the 
 
 DAVENPORT BROTHERS. 
 
 Dr. Fergusson Mr. HENRY IRVING. 
 
 Musical Director .... JOHN M. WIKE, Esq. 
 
 No Money will be taken at the Doors, 
 
 Admission by Tickets only, which may be obtained from Mr. 
 Crompton, Bookseller, Fleet Street ; and Mr. W. S. BarloWv 
 Bookseller, Haymarket Street. 
 
 Private Boxes, £1. los. ; Boxes, 2s. 6d. ; Pit, is.; 
 Gallery, 6d. 
 
 A few STALL TICKETS, numbered and reserved, price 5s. each^ 
 
 may be had at Mr. Crompton's, where a Plan of the Seats may be seen. 
 
 Doors open at Seven o'clock ; Performance to commence at half-past. 
 
296 An Architect's Experiences: 
 
 the aid of a blacksmith it was ultimately " driven 
 home." Some curious incidents happened. I 
 recollect I played Polonius in Charles Calvert's 
 King Lear dress used in the mad scene (wearing 
 a beard which I would not cut off) ; it was 
 thought this flowing fur-trimmed robe would go 
 well with the hirsute appendage. My arms were 
 bare, and altogether I must have looked very 
 barbaric. Amateur-like, I burst out laughing 
 when Irving said in a very pointed manner, and 
 a merry twinkle in his eye, " You to the barber's 
 with your beard." I remember the weather was 
 very hot, and after being consigned to oblivion, 
 I was sitting on a table behind the tapestry, 
 fanning myself, when, to my astonishment, 
 Hamlet drew aside the tapestry, and repeating 
 the well-known words, "Thou rash, intruding 
 fool, I took thee for thy betters," he gave nfe an 
 agonised look, and sotto voce exclaimed: "For 
 goodness' sake get me a pint of stout! I'm as 
 dry as a limekiln." This, from the Prince of 
 Denmark, startled me, and for some little time 
 I failed to take in the situation. 
 
 I never saw a better Ghost than Bielby Lee ; 
 and that thirsty Hamlet has lived to astonish 
 the world by his masterly and consummate 
 impersonation of the ill-starred Prince. 
 
 It is curious to note he effect of acting a 
 great part like Hamlet upon different tempera- 
 ments. Sir Henry Irving throws his whole soul 
 
Professional, Artistic, and Theatrical. 297 
 
 into such an impersonation, and the thirsty 
 anecdote I have just told reminds me that once 
 if not twice during the play a complete change 
 of garments is necessary, when he is enacting 
 this trying part. I once asked Barry Sullivan 
 how the part affected him physically. He 
 replied, in that peculiar tone of voice, and 
 tragic action, we so well remember, " Never 
 turn a hair, sir ! " Many years after the 
 performance of "Hamlet" at Bury, the two 
 tragedians, Irving and Sullivan, happened to be 
 playing in Manchester at the same time, Sullivan 
 at the Queen's, Irving at the Royal ; and curiously 
 enough, "Hamlet" was in the Bill at both 
 theatres. I do not think a greater contrast 
 could be possible, than between the one actor 
 who was all soul and intellect, and the other, 
 "who never turned a hair, sir," and who was 
 conventional and histrionically academic. The 
 most curious sight I ever saw in connection 
 with dramatic history in my time, was that 
 of Irving and Sullivan sitting side by side at 
 a dinner ; Sullivan being Irving's guest. A 
 distinguished gathering witnessed this strange 
 juxtaposition of two theatrical stars ; and one 
 felt that the last link was about to be broken 
 between the traditions of the "high and palmy" 
 school, and that of the original and cultured 
 body of actors who are forming the histrionic 
 art of the 20th century. Barry Sullivan, the 
 
298 An Architect's Experiences: 
 
 last of his race, was soon to depart to "that 
 bourn from whence no traveller returns " ; Sir 
 Henry Irving still lives to carry on the new 
 and unconventional method of dramatic art. 
 
Professional, Artistic, and Theatrical. 299 
 
 CHAPTER XXII. 
 
 TT will not be a matter of surprise that, asso- 
 -*- ciated as I happened to be with such men 
 as Charles Calvert and Henry Irving, I should 
 become professionally engaged in Theatre archi- 
 tecture. I have before alluded to my connection 
 with the Prince's Theatre, Manchester, which I 
 transformed, decorated, added to, and altered for 
 many years, until the death of Mr. G. H. Browne. 
 A manager then came into possession (to wit, 
 John Hollingshead) "who knew not Joseph," and 
 my professional interest ended in the theatre 
 where so much splendid managerial work had 
 been achieved, and which was one of the best 
 appointed and most luxurious houses in the 
 country. 
 
 It was not without a feeling of regret that I 
 left the little theatre with which I had been 
 associated for so many years. It is a curious 
 fact in connection with my profession, that after 
 an architect has designed and carried out work — 
 
300 An Architect's Experiences: 
 
 whether it be in a theatre, a church, or a palace 
 — he should be turned away in favour of some one 
 who has neither plans, documents, or ideas to 
 enable him to carry on the work to a complete 
 realisation of an original idea. If he has proved 
 himself incapable, or if he refuses to entertain 
 the ideas or instructions of the new man, he must 
 expect to be cashiered. What architects have to 
 complain of is the inconsiderate way in which 
 they are turned adrift, without reason or respect 
 for schemes they have elaborated and partially 
 realised. Much might be said on this matter ; 
 but it is not my intention to obtrude upon my 
 readers the sorrows, trials, and troubles of pro- 
 fessional life. 
 
 During the decade from 1870 to 1880 my time 
 was often occupied with work in connection with 
 buildings used as theatres, and it was during* this 
 period that I gradually arrived at the conclusion 
 that the usual plan and construction of such 
 buildings were on wrong lines as far as regards 
 the safety of an audience in case of panic. It 
 was not, however, until the work at the Lyceum 
 for Sir Henry Irving came under my consideration 
 in 1878 that this matter received serious attention. 
 I was instructed to do everything possible with 
 the existing building to ensure the safety of the 
 audience and artistes. The matter had to be 
 discussed with the Lord Chamberlain's office ; 
 Sir Ponsonby Fane, from whom I received 
 
Professional, Artistic, and Theatrical. 301 
 
 courtesy and kind consideration, entered fully 
 into the matter, and the theatre was opened, as 
 I have before mentioned, in December, 1878. 
 
 In the new Comedy Theatre, Manchester, 
 opened in December, 1884, I had a better chance 
 of carrying out my "safety" ideas; but the nature 
 of the site prevented their complete realisation. 
 It was not till the awful disaster at Exeter in 
 1887 that people realised the fact that theatres 
 were not properly planned and constructed. 
 There was nothing unusual in the Exeter Theatre 
 designed by my friend Mr. Phipps ; it was as 
 good a type as could be planned on existing 
 lines ; but the fearful loss of life when it was 
 burned startled everybody into the conclusion 
 that something must be done by which such 
 fearful tragedies as those of the Ring Theatre 
 at Vienna, and at Exeter, should be rendered 
 impossible. 
 
 Sir Henry Irving was the first and only 
 theatrical manager who seriously set himself the 
 task of thinking out a solution of this problem. 
 When he had arrived at certain conclusions, I 
 was consulted on the possibility of expressing 
 them on paper. My instructions were received 
 under peculiar circumstances. It was about mid- 
 night when Sir Henry commenced unfolding his 
 scheme, which curiously enough agreed with my 
 own in many particulars. I recollect when we 
 had finally decided on the plan, we were standing 
 
302 An Architect's Experiences: 
 
 in front of one of the windows of the Queen's 
 Hotel, at Manchester, with the dayhght streaming 
 through the Venetian bhnds ; an adjacent pubUc 
 clock slowly told the hour of seven, the fire was 
 gone, the morning chill was upon us, and we felt 
 that it was bedtime. 
 
 The result of that night's work was made 
 public through the columns of the Daily Telegraph, 
 with illustrations. The scheme was discussed in 
 the building and theatrical worlds: denounced by 
 some critics, applauded by others. Ultimately 
 I was consulted by the good people of Exeter, 
 and instructed to rebuild their unfortunate 
 theatre on the lines laid down, on what was 
 known as the Irving-Darbyshire "Safety" plan. 
 
 I was requested by the Corporation of Man- 
 chester to explain this scheme in detail in the 
 course of a Lecture on " Secular Architecture." 
 A few extracts from that address may be here 
 appropriately inserted : — 
 
 It may be noted that, next to religion, ancient nations, both 
 Oriental and Western, looked upon the public recreation and 
 amusement as' a sine qua non of national existence. Their races, 
 their wrestling, their music, and their drama were practised and 
 developed under the influence of public shows and public fes- 
 tivities ; and thus the art of war and the recreations of peace 
 were fostered and developed. Amongst the Greeks this was all 
 very beautiful ; amongst the Romans it was brutal. The late 
 accompUshed President of the Royal Academy, Lord Leighton, 
 has translated a famous passage in the oration by Pericles on 
 the victims of the first Peloponnesian war. The great orator, 
 in attempting to account for the high position of the Greeks 
 
Professional, Artistic, and Theatrical. 303 
 
 among the nations, said, " It is because we love the beautiful." 
 Truer words were never uttered ; and this principle of beauty 
 permeated even their places of amusement. Here let us at once 
 note the fact that the games, spectacles, and dramas, forming 
 as they did a national institution, must of necessity be given in 
 the open air, no covered bpilding being large enough to accom- 
 modate the inhabitants of such cities as Athens or Rome. We 
 may also note that the ancient pantomimes and dramas did not 
 require thousands of artificial lights, and the other dangerous 
 and sensational aids of the modern stage ; hence the safety of 
 human life did not constitute an element in the construction of 
 gladiatorial arenas or theatrical auditoria. It will therefore be 
 patent to all that this class of building amongst us moderns 
 presents a problem for the architect with which the antique builder 
 had not to grapple, and the solution of which is only now receiving 
 the anxious attention of architects, and of those public autho- 
 rities in whose hands the future safety of the public lies. As it 
 has fkllen to my lot to give some attention to this section of 
 secular city architecture, I may perhaps be pardoned for devoting 
 a few moments to its consideration. 
 
 Dramatic representation necessitates a building of two separate 
 and distinct parts ; one for the auditory, called the auditorium, and 
 the other for the dramatic expositors, now called the stage. This 
 division has obtained from the earliest times of dramatic enter- 
 tainment ; it is found in the theatres of the Greeks, although the 
 chorus was located in the auditorium, and it was realised in the 
 first theatre of the Romans built by Pompey, and in the great 
 theatre of MarceUus, the ruins of which are still to be seen in the 
 City of the Seven Hills. The difference between an amphitheatre 
 and a theatre must be borne in mind. In the former the performers 
 occupied a central arena, round which the seats for spectators rose 
 tier above tier ; in the theatre the performers occupied one end or 
 side of the edifice, the seats being raised as before but in a semi- 
 circle, in order that the spectators might face the actors ; and as 
 it was necessary both to see the facial expression and to hear 
 the voices of the performers, the theatre was of much smaller 
 dimensions than the amphitheatre. Now, the planning of the 
 ancient theatre, as far as regards the relative positions of stage 
 and auditorium, has been carried out in modern theatres; the 
 
304 An Architect's Experiences: 
 
 difference being that ttie audience are placed on several galleries, 
 one above another, instead of on one continuous gallery. It is 
 evident that by this arrangement the occupants of the second, 
 third, or fourth galleries are seated at a considerable height from 
 the ground ; hence the difficulty of escape from the theatre in 
 case of fire, and hence the awful unrehearsed tragedy too often 
 enacted in modern theatres. The lamentable disasters which 
 have happened both in continental and English theatres have at 
 last aroused a painful interest in this class of buildings, and 
 much thought has been devoted to what may be called "safety" 
 planning. As this is a question of vital interest to the com- 
 munity of a city like Manchester, I will give you the conclusions 
 to which I have arrived, after much consideration and some 
 practical experience. 
 
 To many persons who have not loolced into this matter, it 
 may be a surprise to be told that the loss of life in a fire panic 
 is not owing to fire or to actual contact with ilame, but to 
 asphyxiation or suffocation by inhaling the poisonous gases given 
 off during conflagration. At Exeter, the poor creatures sitting in 
 the gallery never left their seats, for when the cloud of poison 
 burst from the stage it instantly ascended, enveloped them, and 
 left them still sitting as at the play, but so many rows of ghastly 
 corpses, instead of the merry human beings who had shortly,,before 
 entered that theatre full of health and strength. This awful 
 episode of the Exeter fire has taught us many lessons ; it has 
 given us certain knowledge on theatre fires, and now let us 
 briefly examine the results as to theatre planning. 
 
 The initial condition is that the theatres of the future must 
 stand completely isolated from other property, and if suitable 
 sites cannot be obtained, then let us hope that the controlling 
 authorities will say the building shall not be. I am pleased to tell 
 you (and I am guilty of no breach of confidence when I say) 
 that this condition of isolation has been decided upon by the 
 authorities who have charge of these vital matters in the Corpo- 
 ration of this city. It will easily be seen that this condition of 
 isolation will enable an audience to escape from all sides of the 
 auditorium. 
 
 The second condition of importance is that the stage shall be 
 instantly isolated from the auditorium by the closing of the 
 
Professional, Artistic, and Theatrical. 305 
 
 proscenium opening. All fires originate on the stage, ttierefore 
 tiie aspliyxiating fumes must be confined to tlie place of their 
 origin. 
 
 The third condition is that the highest point accessible by an 
 audience should be as near to the streets as possible, and no 
 seat should be higher than the proscenium opening; this is only 
 necessary in case the means of stage isolation should fail. 
 
 Thirdly, every part of the house should be provided with two 
 exits, communicating separately and direct with the streets, and 
 having no openings in them except at the top and bottom. 
 
 Fourthly, the stage must have a fireproof roof, and be 
 provided with a large smoke shaft, glazed and louvred. In case 
 of fire (the proscenium opening being closed), both flame and 
 smoke will at once make for this shaft ; and I have no doubt 
 Mr. Tozer will tell you that he and his men would have no hesi- 
 tation in entering the stage, and would have no difficulty in 
 extinguishing the fire. 
 
 The fifth condition is an important one. Every space upon 
 which the human foot is planted in the auditorium and escape 
 staircases must be absolutely fireproof and unburnable. 
 
 The foregoing conditions apply to the safety of the public, but 
 it is quite possible to provide for the safety of the artistes and 
 persons employed in a theatre. I will not, however, take up 
 your time with this section of the subject. 
 
 Many persons will tell you that these conditions constitute a 
 mere impracticable theory. To such an allegation I reply that 
 they have now become actual fact. When called in to rebuild 
 the theatre at Exeter, it was with some fear and trembhng that 
 I undertook the task : the grand old city had received a shock, 
 and its inhabitants were still in mourning over a disaster which 
 seemed destined to hang over them like the shadow of death. 
 Thanks, however, to the determination and energy of those inte- 
 rested, I was permitted to carry out the "safety" plan which I 
 had worked out at the suggestion of my friend Henry Irving. 
 What is the result? The good people of Exeter, who have ever 
 loved the drama, and who act up to the spirit of their ancient 
 motto, " Semper Fidelis," go to their theatre with the utmost 
 confidence, and with the certain knowledge that they cannot be 
 destroyed. I am pleased to make the statement that my firm 
 
 W 
 
3o6 An Architect's Experiences: 
 
 tas been instructed to maintain the position I have taken on 
 this important question in the great theatre now erecting in this 
 city, and which has been the object of so much criticism. What- 
 ever its future may be, our clients have determined it shall be a 
 safe theatre, and I promise you it shall be a faithful realisation 
 of the principles of theatre architecture which I have endeavoured 
 to bring before you this evening. 
 
 The theatre alluded to as in the course of 
 erection is the great Palace of Varieties, in 
 Oxford Street, Manchester, and built in associa- 
 tion with my partner, Mr. F. Bennett Smith. 
 This building is the last and most important 
 example of theatre architecture with which I 
 have been associated. In this great building all 
 the conditions I have laid down as absolutely 
 essential to the safety of the public have been 
 carried out, and an audience of something like 
 three thousand persons can be cleared from the 
 building in a few minutes. There are many 
 features in the construction of this building which 
 are worthy of notice, but mainly interesting to 
 the architect and engineer ; and although novel 
 in character, would not interest the general 
 reader. This "Safety" Theatre is fully illustra- 
 ted and described in the great work on " Modern 
 Opera Houses and Theatres," by Messrs. Sachs 
 and Woodrow. 
 
 I will now dismiss my architectural association 
 with the Theatre, and record the pleasant social 
 intercourse I have had with many interesting 
 men and women, consequent on the professional 
 
Professional, Artistic, and Theatrical. 307 
 
 connection I have had with theatrical work. 
 Some of my pleasant associations with the 
 Theatre have previously been alluded to, and 
 interwoven with my " Experiences." I may, 
 however, appropriately devote some consideration 
 to the art of the Stage, and to those who have 
 so honourably contributed to its elevation and 
 advancement. 
 
3o8 An Architect's Experiences: 
 
 CHAPTER XXIII. 
 
 npHE art of the Stage forms an interesting and 
 -*- comprehensive study. It embraces the art 
 of acting, and of stage production ; it is a 
 combination of histrionic ability and appropriate 
 "setting" or "mounting." In short, it includes 
 everything expressed by the word stagecraft. 
 
 It is not my intention to express any dogmatic 
 opinion as to what the art of acting should, or 
 should not be. I shall only speak of the art, as 
 I have found it under many phases, and as 
 practised by the men and women with whom I 
 have come in contact during the exercise of my 
 own profession. 
 
 In those far-off days at Cox's, before alluded 
 to, I little thought that I should become so 
 much associated with Theatre architecture, and 
 that my life would secure some of its greatest 
 pleasure by associating with persons who have 
 become distinguished in the world of art ; or that 
 my best friendships would be made with those 
 
Professional, Artistic, and Theatrical. 309 
 
 who have professed the art of acting, and the 
 art of the Stage. 
 
 The art of acting during our time is a curious 
 thing to contemplate ; a whole history might be 
 written on its changes and development. I often 
 wonder what a man who had a clear memory of 
 the art — say in the time of the Kembles — would 
 think of it as practised in the theatre of our 
 own time. When I remember the academic 
 rules and the stilted regulations which governed 
 the art of acting, as expressed by such high pro- 
 fessors as Macready or Sullivan, I can hardly 
 credit the evidence of my own eyes and ears, 
 when I am before the natural art of Irving, 
 Terry, Tree, or Benson. It is wonderful ! It 
 almost seems as though there was no art in 
 acting, and that what one sees is simply human 
 nature, with the stage as a medium of exposi- 
 tion. The Robertsonian drama was a great 
 factor in the abolition of academic and conven- 
 tional art ; and cultured actors soon accepted 
 the fact that the poetic drama only dealt with 
 human nature, and must be treated accordingly. 
 
 I recollect there used to be some curious rules 
 laid down for the exposition of the poetic drama. 
 An actor was never allowed to turn his back 
 on the audience. Certain "crossings" and "re- 
 crossings" had to be rigidly attended to, and 
 all the "business" was worked with mechanical 
 regularity and precision. A heavy blow was 
 
310 An Architect's Experiences: 
 
 dealt at conventional stage art by Joseph Jefferson, 
 in his immortal " Rip Van Winkle." It is a 
 matter of astonishment how the true artist does 
 the right thing on the stage, unconscious ot 
 any strain or conventional effort. I remember 
 on one occasion I invited some representative 
 people to meet the great American actor : the 
 conversation turned on this subject, and I pointed 
 out a curious fact in connection with his great 
 impersonation. It may be in the memory of 
 many of my readers that one act of " Rip Van 
 Winkle" is occupied by a "set" scene, repre- 
 senting a point at a great height on the Catskill 
 Mountains. The scene is occupied by Hudson's 
 weird-looking and deaf and dumb crew. Jefferson 
 had carried the Httle keg of " schnappes " up 
 the mountain for the little elfish dwarf : from the 
 moment he set it down near the footlights, not 
 a soul spoke but Rip, and his face is never seen 
 by the audience, till he turns round, overcome 
 by the liquor, which induced the sleep of twenty 
 years. This wonderful scene lasted on an average 
 twenty minutes ; on the fall of the curtain, the 
 audience demanded, with enthusiasm, the return 
 of the actor who had turned his back upon them 
 for such a length of time.* I always have regarded 
 
 ■■'• I once heard a discussion on tliis question of natural art as 
 opposed to the conventional, between Sir Henry Irving and the 
 distinguished French tragedian, Mounet Sully. The former advo- 
 cated the abolition of the old canon of stage art — namely, that an 
 actor's back should never be turned on his audience. I cited this 
 remarkable instance in support of the English actor's argument. 
 
Professional, Artistic, and Theatrical. 311 
 
 this episode as a triumph of natural art. Strange 
 to say, this method of playing the scene had 
 never struck Jefferson as being peculiar or 
 unusual, and it had never occurred to him 
 that the scene could be played in any other 
 way. 
 
 Oh ! high and palmy school ! what a cruel 
 blow was this to the conventional principles on 
 which the old art of our Stage was founded. 
 Again, who ever thought of playing Hamlet 
 naturally before Sir Henry Irving ? Who of the 
 old school would have dared to have given the 
 great "To be or not to be" soliloquy sea/ei, the 
 great soul of the speaker working out the situa- 
 tion over the arm of a chair ? Tree also, in the 
 " Ballad Monger," scatters all conventionality to 
 the winds, and triumphs ; and finally, at this 
 very time of writing, Shakespeare's immortal 
 Imogen is before us as a living woman, and 
 worthy of a good man's love. The great poet 
 was Nature's dramatist, and this exquisite imper- 
 sonation we know and feel realises what its 
 creator intended ; although the ideal was given 
 to the world three hundred years ago, human 
 nature is precisely what it was in the Elizabethan 
 Era, and the old methods of acting cannot give 
 it life and expression. 
 
 Having, I fear, digressed from the immediate 
 object of this chapter, which was intended to be 
 devoted to a consideration of the stage produc- 
 
312 An Architect's Experiences: 
 
 tion of the Romantic and Poetic Drama, I will 
 now note some of the interesting experiences I 
 have had in connection therewith. 
 
 Although I had seen the tail-end, so to speak, 
 of Charles Kean's work as a professor of stage- 
 craft, it was not till the opening of the Prince's 
 Theatre, Manchester, in 1864, under the Calvert 
 management, that my attention was drawn to a 
 consideration of the stage mounting of plays. 
 The production of " The Tempest," by Charles 
 Calvert, was to me a revelation. I saw beauties 
 in that wonderful work which had escaped my 
 notice as a student, and I came to the conclusion 
 that Shakespeare had not only written to be 
 acted, but that had he lived in our time he 
 would have taken advantage of the methods and 
 capabilities of the Theatre to assist in setting 
 forth the poetic beauties of his " Tenfpest." 
 Holding so strong a view on the question of 
 stage production, it will be easily understood 
 that I entered heartily into the work of my 
 friend Calvert. In such pieces as " Henry V.," 
 "Merchant of Venice," and "Richard HI.," re- 
 quiring architectural and antiquarian knowledge, 
 I was fairly in my element. The result of these 
 productions amply repaid the trouble, toil, and 
 research ; and I feel some pride in the knowledge 
 that I had a small share in the great work of the 
 Stage revival of the masterpieces of Shakespeare. 
 
 In a former chapter I have spoken of the work 
 
Professional, Artistic, and Theatrical. 313 
 
 of Charles Calvert, and of his determination to 
 produce the dramas of Shakespeare, with all the 
 art and mechanical science which the modern 
 stage-manager has at his command. It is curious 
 that in spite of the superb success of the Lyceum 
 productions on the same lines, together with the 
 artistic and cultured efforts of Mr. Tree, and Mr. 
 Benson, there should still be found a class of 
 critics who preach the doctrine of "green-baize" 
 for the setting of the Shakespearian drama. In 
 other words, no scenery and no appropriate sur- 
 roundings, nothing that can assist or enhance 
 the value of the poet's beautiful ideal, will they 
 tolerate. If a scene is laid in Rome, green baize 
 is their cry ; if in a wood near Athens, green 
 baize again; if in Eastcheap, London, again they 
 demand the same material for a background. All 
 scenery, they say, distracts the attention and 
 drowns the beauty of the poet's lines. 
 
 It would be an idle waste of time to discuss 
 this question in face of the artistic and financial 
 success of the "Revival" theory; but it is a 
 curious thing that nothing a manager can do 
 in the fair and legitimate way of mounting 
 the works of Shakespeare can drown or destroy 
 their beauty or obliterate their poetry. Scenery 
 or no scenery, the result is the same. The 
 Independent Theatre Society produced at Man- 
 chester, with Mr. Louis Calvert's managerial 
 talent, "Love's Labour's Lost" and "Richard II." 
 
314 An Architect's Experiences: 
 
 without scenery, and with only the baize backing 
 of our opponents ; the names of the scenes were 
 stuck up on boards in front. What was the 
 result ? The absence of the scenery was not felt 
 after the preliminary "titter" at the first explana- 
 tory board, and the audience became absorbed 
 and enthusiastic. Sir Henry Irving and his 
 company produced " The Merchant of Venice " 
 before some six hundred members of the Military 
 Academy at West Point, in America, in a similar 
 manner. Sir Henry says : "I have never known 
 an audience more interested or more enthusiastic, 
 though, if Mr. Wallace (of the National Review) 
 had been there, I fear the absence of scenery 
 would have disturbed his attention." Now look 
 on the other picture. Did the beautiful stage 
 setting of " Cymbeline " distract the attention of 
 an audience from the exquisite acting of Ellen 
 Terry? Were the beautiful lines she uttered lost 
 and drowned in stage accessories ? Certainly not. 
 The critics who object to Sir Henry Irving's 
 method of producing the Shakespearian drama 
 don't lift up their voices or raise their critical 
 pens against the realism which brings forth a 
 hansom cab, or a racehorse, on the stage ; but 
 they object to a clap of thunder, a flash of light- 
 ning, or an earthquake in the higher drama : a 
 Roman triumph, or a mediaeval entry into the 
 streets of London, is not to be tolerated; in short, 
 nothing but the "baize" mounting and the ex- 
 
Professional, Artistic, and Theatrical. 315 
 
 planatory Elizabethan placard are to be allowed 
 in the representation of the Shakespearian drama. 
 How far realism should be allowed to enter 
 into the production of high-class and poetic 
 drama is a question for careful consideration. I 
 have always held the opinion that when a 
 realistic scene or episode will assist in the 
 accentuation of the author's idea, it is not only 
 admissible but desirable. I recollect a wonderful 
 effect was produced in the trial scene in the "Win- 
 ter's Tale," at Manchester. When Leontes says: 
 
 There is no truth at all i' the oracle, 
 The sessions shall proceed ; this is mere falsehood, 
 
 on the utterance of the word " falsehood " a 
 flash of forked lightning shot across the stage, 
 followed by a clap of thunder, which brought 
 the audience to their feet. Shakespeare intended 
 that the blaspheming mortal should be alarmed 
 and punished by the Gods ; hence the following 
 expression : — 
 
 Apollo's angry ; and the heavens themselves 
 Do strike at my injustice. 
 
 I daresay some of my readers will smile when I 
 say that that peal of thunder cost weeks of 
 thought and mechanical labour ; it was no mere 
 " stage thunder," but it was as near nature as 
 thought and money could make it. The result 
 was perfectly legitimate ; the audience was pro- 
 foundly impressed, and the poet's leading idea 
 realised. 
 
3i6 An Architect's Experiences: 
 
 Those who have had the good fortune to see 
 the great Ristori in "Marie Antoinette" will 
 remember a scene in that play, which to my 
 mind was the acme of stagecraft in the direction 
 of realism. On September 27th, 1873, Madame 
 Ristori gave a farewell performance of Giaco- 
 metti's historical drama, at the Queen's Theatre, 
 Manchester. At a certain point in the develop- 
 ment of the drama one was conscious of an 
 uncertain and mysterious sound, interpenetrating, 
 as it were, the action on the stage. 'The actors 
 became conscious of it, and seemed to pause 
 as if to fathom its meaning. In course of time 
 there was no mistaking its cause ; the uncertain 
 sound gradually swelled into a babel of human 
 voices, and we knew that the rabble of Paris was 
 on its way to Versailles. I shall never forget this 
 piece of stage realism. The great actress alfowed 
 me to see how it was achieved : it was wonderful 
 in its simpHcity, but stupendous in result. 
 
 I had a curious experience during the per- 
 formance of " Marie Antoinette," which I may 
 relate as an instance of the power of the super- 
 lative genius of perhaps the greatest actress ^ of 
 our own time. I had a seat in the pit, about 
 two rows from the stalls ; on my left sat a 
 thorough specimen of a Lancashire working 
 woman with her daughter, a girl of about 15 
 years of age. These two had paid their money, 
 not knowing that the play was in the Italian 
 
Professional, Artistic, and Theatrical. 317 
 
 language. Shortly after the commencement of 
 the prologue the elder woman drew a cork from a 
 bottle, refreshed herself, and handed it to the 
 daughter. This operation was frequently repeated. 
 At length the woman turned to me, and said : 
 
 " I say, master, are they gooin' to talk loike 
 this o' neet ? " 
 
 "Yes," I said. 
 
 " Eh, dear ! I wish I'd moi money back," she 
 replied. 
 
 " Perhaps you'll get interested as the play 
 proceeds ; you'll know what they are doing, 
 although you don't understand what they are 
 saying," I remarked. 
 
 My reply was destined to a fulfilment I little 
 anticipated. The advent of the Parisian mob 
 interested and astonished the simple Lancashire 
 woman; but when the Dauphin was dragged from 
 the side of the unfortunate Queen, human nature 
 asserted itself. When the magnificent actress 
 frantically threw herself across the door which 
 shut her out for ever from her son, down dropped 
 the obnoxious bottle with a crash ; the woman 
 rose to her feet, and shouted out, " Yo' munna 
 tak him ! " Never shall I forget the effect of 
 this incident. A roar of Lancashire applause 
 rose from that audience ; and I had the oppor- 
 tunity shortly afterwards of explaining to the 
 great actress, through an interpreter, the precise 
 meaning of the episode. 
 
3i8 An Architect's Experiences: 
 
 CHAPTER XXIV. 
 
 I HAVE before alluded to the last scene in the 
 Calvert "Revival" of "The Merchant of 
 Venice"; also to that wonderful piece of reaUsm, 
 " The Pageant," or entry of Henry the Fifth into 
 London : those scenes gave value and emphasis 
 to the author's meaning. It will still be fresh in 
 the memory of some of my readers how Sir Henry 
 Irving, by a masterstroke of art, placed the cope- 
 stone of interest on Herman Merivale's dramatic 
 version of Sir Walter Scott's novel, under the 
 title of " Ravenswood." The author's last lines 
 were spoken; the curtain closed on the last scene, 
 but only to be quickly raised again on a sunset 
 " cloth," with sea and sandy foreground. Faith- 
 ful old Caleb Balderstone was discovered picking 
 up the hat and plume : all that remained of his 
 unfortunate master. This scene accentuated the 
 misery and fatality of the drama, and was, there- 
 fore, not only a beautiful, but a legitimate adjunct 
 to the play. 
 
Professional, Artistic, and Theatrical. 319 
 
 Many other examples might be quoted in sup- 
 port of the reaUstic theory. I will, however, rest 
 content with mentioning the earthquake scene in 
 " Claudian," the fight in " Cymbeline" at the 
 Lyceum, and the Temple Scene in " The Cup." 
 On the production of this piece, written by the 
 late Lord Tennyson, an incident occurred which 
 illustrated the immortality of the painter's art. 
 This fine temple interior opened an act : the 
 scene was gloomy and sombre ; after a time the 
 temple portal opened, and a ray of daylight burst 
 upon the scene. Then followed a procession of 
 children classically attired, and garlanded with 
 Toses ; they danced and sang and ultimately 
 got into position. The ensemble was a picture 
 of exquisite classic beauty. 
 
 Some of those present were spellbound by the 
 classic realism of this picture. While thunders 
 of applause resounded through the theatre, the 
 first man of the silent ones who spoke was Alma 
 Tadema. With a sigh and a shrug of the 
 shoulders, he exclaimed, " Ah ! how poor my art 
 is after this." The great artist repeated this 
 opinion to the great actor-manager. Irving, with 
 that sad smile which sometimes passes across 
 his features, said, "Ah! Tadema, when I am 
 dead and gone my art is gone, while yours lives 
 for ever." This saying impressed us all deeply. 
 The art of the actor can only live in the memory 
 of those who hear and see him, but the art of 
 
320 An Architect's Experiences: 
 
 the great painter will last as long as the creations 
 of Homer, Dante, and Shakespeare. 
 
 Placed as I have been in connection with the 
 art of the Theatre, it will not be a matter of 
 surprise that I have had some pleasant experiences 
 with many persons who have adorned, and whose 
 lives are still honourable to the English Stage. 
 I have even been so vain and idiotic as to 
 imagine I could take my share in the manage- 
 ment of a theatre. The result made me a 
 sadder and a wiser man. The only consolation 
 remaining from the disaster is the fact that it 
 brought me the acquaintance of my friend, F. R. 
 Benson. When the theatrical ship was sinking, 
 he appeared for the first time in Manchester, 
 with his company, in a round of Shakespearian 
 pieces, and made a bid for that position which 
 he now so honourably holds in his art. M.y first 
 meeting with Mr. Beerbohm Tree was on an 
 interesting social occasion in 1878. Geflowski, 
 the Polish sculptor, had become so successful, 
 that he found it necessary and desirable to 
 remove into the studio. No. 13, Bruton Street, 
 Berkeley Square, and just vacated by Noble. 
 The event of removal was celebrated by a sort 
 of art conversazione. The walls were hung with 
 important examples of the work of contemporary 
 painters. The card of invitation was designed 
 by Caton Woodville, probably now the most 
 masterly draughtsman of our time. Musicians of 
 
Professional, Artistic, and Theatrical. 321 
 
 note added their delightful art to the entertain- 
 ment, and Beerbohm Tree made one of his early 
 bows as a reciter. How little one can divine the 
 future of individuals : at that festive gathering 
 little did I think I should in after years become 
 acquainted with " The Ballad Monger," " Captain 
 Swift," "Hamlet," "The Parish Priest," and 
 other masterpieces of acting by the genial reciter 
 of that evening. The gathering of guests was a 
 large one, and embraced men of note in the 
 aristocratic and artistic worlds. I recollect the 
 former element disappeared at a reasonable hour, 
 leaving a considerable residuum of an artistic and 
 bohemian character. I must, however, draw a 
 veil over the "subsequent proceedings" of song, 
 recital, and sparkling humour, commingled with 
 the plebeian libations and tobacco of Bohemia. 
 Some of those genial souls are now famous 
 and prosperous ; 
 
 Others are scattered now and fled, 
 Some are married, some are dead. 
 
 The "prompt" bell rings — so — Curtain! 
 
 The whirligig of Time is a curious piece of 
 mechanism producing strange and unlooked-for 
 results. The other day I was sitting beside 
 Genevieve Ward on the stage of the Theatre 
 Royal, Manchester, watching a rehearsal of an act 
 of " King Arthur." I reminded the tragedienne 
 that I saw her first appearance on the same 
 boards (after she had abandoned the Lyric stage) 
 
322 An Architect's Experiences : 
 
 as Lady Macbeth'. I refrain from recording the 
 date of this event, but I well remember the 
 discussion at the time on the merits of the 
 performance, and whether the new Lady Macbeth 
 would take a high place on the Dramatic stage. 
 Miss Ward's career is historic, and needs no 
 comment from me; but it is a curious coincidence 
 that when I first saw the new Lady Macbeth of 
 our time, in the person of Ellen Terry, I found 
 myself sitting next to Miss Ward in the stalls 
 of the Lyceum. 
 
 I have several pleasant recollections of my 
 intercourse with Miss Ward. I remember when 
 my friend, the late Lewis Wingfield, wrote a 
 play, he induced the talented actress to produce 
 it. This was accordingly done at the Queen's 
 Theatre, Manchester, in June of 1875. The 
 title was " Despite the World," a new rofnantic 
 play, in two parts and four tableaux. I remember 
 we all worked hard at the production of this 
 ill-fated drama ; Miss Ward did everything that 
 could be done with the heroine Thecla, but in 
 spite of its many literary qualities it would not 
 draw, and had to be taken off. I remember Miss 
 Ward thought so highly of her part that she 
 christened a little favourite black dog "Thecla"; 
 and of which she tells an amusing story. Certain 
 Royal personages visiting her one evening at the 
 theatre, the little animal showed signs of dislike 
 by growling from his snug retreat in a silk- 
 
Professional, Artistic, and Theatrical, 323 
 
 cushioned basket. Its mistress exclaimed, "Down, 
 Teck ! down, instantly ! ! " There was much 
 laughter at this, and Miss Ward had to explain 
 to one of the Royal personages that the animal 
 was called after poor Wingfield's heroine Thecla. 
 Miss Ward accepted the responsibility of the 
 management of the Lyceum during a temporary 
 absence of Sir Henry Irving. I recollect a piece 
 was produced which failed to attract, and the 
 situation became serious. Miss Ward told me 
 one morning on the Lyceum stage that she had 
 a drama which had been laid by some time, and 
 that she had serious thoughts of producing it. 
 The piece was "Forget-Me-Not," by Grove and 
 Herman Merivale. It was produced ; and with a 
 startling result. Stephanie, in this drama, was a 
 creation, and a phenomenal success. The part 
 has been played over two thousand times, and 
 "everywhere where English is spoken," Miss 
 Ward has told and interviewer. It is curious 
 how theatrical managers may be mistaken as to 
 the quality or chance of success of plays sub- 
 mitted for their consideration. "Forget-Me-Not" 
 is not the only play that has been consigned to 
 the oblivion of a manager's bureau, and after 
 many years been accidentally unearthed as a 
 dernier-ressort to retrieve loss and disaster. 
 
324 -^w Architect's Experiences: 
 
 CHAPTER XXV. 
 
 T DID not see much of Irving after he left 
 -*- Manchester; only on occasional visits to 
 London, or when he happened to come to the 
 city on tour with the Lyceum productions, under 
 the Bateman management. I think the last link 
 of the old time was severed on the occasion of 
 my first visit to Oxford in the autumn of 1865. 
 I recollect Sir Henry had joined his old friends 
 of the John Knowles Stock Company in a sort 
 of "commonwealth." They took the Oxford 
 Theatre, but with what financial result I do not 
 remember ; but I have a recollection of many 
 pleasant visits to Colleges, to Woodstock and 
 Blenheim. 
 
 In vacation, the great St. Giles' Fair is held in 
 Oxford; on this occasion the collegiate city is 
 en fete, and it was a source of delight to us, 
 after the theatre work was done, to wander 
 through the wonders of the fair, held under 
 beautiful overhanging trees whose gently waving 
 
Professional, Artistic, and Theatrical. 325 
 
 foliage danced in the flicker of the thousand-and- 
 one lamps of the "shows." Of course there was 
 a booth-theatre, and of course we must see the 
 tragedy being enacted within its canvas walls. 
 It was a tragedy ! I recollect the first act repre- 
 sented an interior ; a lady was " discovered " 
 seated at a table, with a sheet of paper before 
 her. Then entered a man, and, pointing to the 
 document, said, in a regular "twopence-colour" 
 style, "Sign! marry me, and live!" To this 
 the lady replied, in a falsetto shriek, "Never!" 
 " Then die ! " said the man Curtain. 
 
 After the next act, which displayed about the 
 same amount of literary ability, a man came 
 before the curtain with a watering-can — (the 
 weather was hot). Irving, with a humorous 
 twinkle in his 63^6, said, "Ask him (pointing to 
 the man with the watering-can) what is the title 
 of the piece." I stood up, and politely enquired 
 the name of the tragedy. The man seemed 
 astonished at my impudence, and in a semi-tragic 
 voice exclaimed, "There ain't no title! yer pays 
 yer money, and yer takes yer choice," and 
 suddenly disappeared. A roar of laughter from 
 the audience was the result of this incident. 
 Ah ! those youthful days ! if they were frivolous, 
 they were happy ones. Life was just beginning. 
 Seriousness was to come hereafter. 
 
 In the year 1878, Irving succeeded Mrs. Bateman 
 as lessee of the Lyceum Theatre. Between the 
 
326 An Architect's Experiences : 
 
 date of the Oxford visit and this year, he had 
 done much good work, scoring heavily in Reginald 
 Chevenix, Digby Grant, and Mathias in " The 
 Bells." Dear Johannie Toole once told me that 
 when Charles Dickens saw " Uncle Dick's 
 Darling," Irving's Chevenix was a revelation to 
 him, and he prophesied a brilliant future for the 
 young actor. How keenly the great novelist 
 could read and create character ; and how far 
 this prophecy has been fulfilled, English-speaking 
 people know. 
 
 The year 1878 was a remarkable one for me. 
 Towards the close of the year I commenced the 
 work of alteration and decoration of the Lyceum 
 Theatre, to which I have before alluded, and on 
 the 30th of December the theatre opened under 
 the new " sole lessee and manager, Mr. Henry 
 Irving." That was an historic event, and will 
 never be forgotten by those who witnessed it. 
 The audience may be described as a specially 
 invited one, and was composed of persons 
 distinguished in literature, art, and politics. 
 " Hamlet" was played that night by a company 
 composed of actors specially gifted to imper- 
 sonate the characters of Shakespearian drama. 
 The night was also memorable for the fact that 
 Ellen Terry made her first bow under the new 
 management. She has loyally clung to the for- 
 tunes of the Lyceum since that memorable night. 
 I consider the cast of the piece historic in the 
 
Professional, Artistic, and Theatrical. 327 
 
 annals of the Lyceum, and here reproduce 
 it: — 
 
 . Hamlet . . .... Mr. Irving. 
 
 Claudius Mr. Forrester. 
 
 PoLONius Mr. Chippendale. 
 
 Laertes Mr. F. Cooper. 
 
 Horatio Mr. Swinbourne. 
 
 OsRic Mr. Kyrle Bellew. 
 
 Rosencrantz Mr. Pinero. 
 
 Guildenstern Mr. Elwood. 
 
 Marcellus Mr. Gibson. 
 
 Bernardo Mr. Robinson. 
 
 Francisco Mr. Tapping. 
 
 Reynaldo . .... Mr. Cartwright. 
 
 First Player Mr. Beaumont. 
 
 Second Player Mr. Everard. 
 
 Pkiest Mr. Collett. 
 
 First Gravedigger .... Mr. S. Johnson. 
 Second Gravedigger . . . Mr. A. Andrews. 
 
 Messenger Mr. Harwood. 
 
 Ghost of Hamlet's Father . . . Mr. Mead. 
 
 Gertrude Miss Pouncefort. 
 
 Player Queen Miss Sedley. 
 
 AND 
 
 Ophelia Miss Ellen Terry. 
 
 Mr. Hawes Craven painted the scenery, and Mr. Hamilton 
 Clarke was the Musical Director. 
 
 It is not my intention to indulge in criticisms 
 of the acting of professional people with whom 
 I have come in contact, but I think I may 
 safely say in connection with this event that 
 many in that audience went away with the 
 impression that for once they had seen Shake- 
 speare's Hamlet and Ophelia. They knew for 
 certain that the ill-starred Prince did love Ophelia 
 with his whole heart and soul, and never in the 
 
328 A n A rchitecfs Experiences : 
 
 history of the art was the renunciation of this 
 love given with such intensity and heart-rending 
 pathos. When that first scene in the third act 
 was over, the pent-up emotions of that vast and 
 critical audience burst forth with a vehemence 
 that was overwhelming. There was no doubt 
 about the new combination. Success must and 
 did follow. " Hamlet" was played one hundred 
 and eight nights, and during that first season of 
 seven months the receipts amounted to ^36,000. 
 
 The social intercourse consequent on my asso- 
 ciation with the Lyceum was very pleasant, and 
 is still a source of pleasurable recollection. 
 
 Early in January after the opening of the 
 theatre, Irving gave a supper to a select gathering 
 ■of his fellow-actors at the little Green Room 
 Club, then in the Adelphi Terrace. The two 
 outside guests were the late Sir F. (then Captain) 
 Burton and myself. Seated next the distinguished 
 traveller and soldier, I had an excellent oppor- 
 tunity of studying his fine face and strong 
 character : interested in architecture as he was, 
 we were soon on a platform of genial conversa- 
 tion, and his finely-moulded features lit up with 
 animation as he described the wonders of antique 
 and Eastern art. He told of the dangers he 
 had gone through, and the precautions he found 
 necessary against deceit and treachery. I recollect 
 he described a peculiar little stumpy revolver he 
 was having made, and which could be fired on 
 
Professional, Artistic, and Theatrical. 329 
 
 emergency through the trouser pocket, to the 
 astonishment of those who might think he was 
 unarmed. Songs and recitals followed that supper 
 It was then that I first heard poor Arthur 
 Matheson sing "Blow, blow, thou wintry wind" ; 
 Lionel Brough, Harry Jackson, Fernandez, Odell, 
 and other men of note contributed their share 
 to the entertainment, which was closed by our 
 host and chairman calling upon himself, and 
 to our intense amusement he gave Calverley's 
 " Gemini and Virgo." 
 
 How John Hollingshead, after much effort, 
 succeeded in bringing the company of the 
 Comedie Fran9aise to England is a matter of 
 history. Readers of " My Lifetime," by the 
 creator of the Gaiety Theatre, will know the 
 nature of the contract entered into with the 
 director of the famous French Company : how 
 they received ^g,6oo for six weeks' performances, 
 paid at the rate of £ifioo per week in advance, 
 and how they opened at the Gaiety on Monday, 
 the 2nd of June, 1879. I introduce this matter 
 here, because, through Sir Henry Irving's kind 
 thought, I was invited to meet the men of this 
 distinguished company. Sir Henry is a prince 
 of entertainers ; and he adopted the pleasant 
 method of giving the "first company in Europe" 
 a Sunday "outing" on a four-horse drag, to 
 Dorking. I cannot now call to mind the names 
 of all the men who sat on that well-appointed 
 
330 An A rchited 's Experiences : 
 
 stage coach, which, I think, was called " Old 
 Times"; but I remember Mounet Sully, Delauney, 
 the youthful old man. Sir F. Pollock, Walter 
 Pollock, now editor of the Saturday Review, Percy 
 Fitzgerald, the late Mr. Pigott, examiner of 
 plays, Campbell Clarke, who spoke French like a 
 Frenchman, and youthful Mr. Ashmead-Bartlett, 
 afterwards married to the Baroness Burdett- 
 Coutts. We lunched at an old inn, probably 
 the famous " Markiss o' Granby." We were 
 like a lot of boys out on a hoUday, no " shop " 
 Avas talked ; and I recollect one of the mad 
 things that was done was a sort of steeplechase 
 over the forms arranged round the inn garden 
 lawn, between the two youngest members of the 
 party, Mr. Bartlett and myself; — how the dis- 
 tinguished Frenchmen enjoyed it : we certainly 
 destroyed the French idea that " Englishmen 
 take their pleasures sadly." We returned through 
 that beautiful country about Box Hill to the 
 Garrick Club, to a choice banquet given by our 
 host. At that festive board " shop " talk went 
 fast and incessantly till the final hand-shaking 
 in the dawn of a beautiful June morning ; I 
 recollect Delauney calling out in his best English, 
 " Three cheers for Mr. Irving." I need not say 
 the response was enthusiastic ; so ended a 
 delightful episode, and one that will live in the 
 memory as a pleasant experience of younger 
 days. 
 
Professional, Artistic, and Theatrical. 331 
 
 CHAPTER XXVI. 
 
 npHE gentle Rosalind could tell who time 
 -*- ambles withal, who time trots withal, and 
 who time gallops withal. Verily time has gal- 
 loped with me, when I consider how short a 
 time seemed to have elapsed between my first 
 meeting with the members of the famous French 
 Company in June, 1879, and my second meeting 
 with them in June, 1893, at the Lyceum. I 
 recollect the weather was intensely hot ; the play 
 was " Becket," and that I sat next a stout man, 
 who seemed to feel the situation keenly. After 
 a time a gentleman came to him and addressed 
 him in French, and took him to a box on the 
 o.p. side of the stage. Shortly afterwards a 
 message came to me to the effect that I must 
 stay after the play, and sup with the members 
 of the Comedie Fran9aise. We met in that 
 historic room where the sublime " Society of 
 Beefsteaks" were in the habit of holding their 
 convivial meetings. A goodly company trooped 
 
332 An Architect's Experiences : 
 
 into the ante-room, including my stout neighbour 
 in the stalls, who was none other than the cele- 
 brated critic M. Francisque Sarcey. The French 
 Company always carried its own critic along with 
 it, and so M. Sarcey came to be of that 
 gathering. 
 
 As the weather was so intensely hot our 
 thoughtful host had provided a delicious bill- 
 of-fare, headed with the simple word in red 
 letters " Froid." The company was as choice 
 as the menu, and was composed of Cocquelin 
 fils, Garnier, M. Sarcey, Boito (who combined 
 in " Mephistophele " the duties of librettist 
 and musical composer), M. Jules Claretie, the 
 manager and director of the company ; Dr. 
 Mackenzie, Dr. Villiers Stanford, Alfred Gilbert, 
 R.A., Beattie Kingston, John Hare, Bancroft, 
 J. L. Toole, and Sir Ewan Smith. Conversation 
 was carried on partly in English and partly in 
 French : I was fortunate in being near M. 
 Cocquelin, who spoke excellent English, and with 
 H. J. Loveday, the Lyceum stage manager, on 
 my other hand, I was perfectly happy. That 
 was a memorable evening. The event reminded 
 me of another great Lyceum night to comme- 
 morate the one hundredth performance of the 
 " Merchant of Venice," February 14th, 1880. 
 
 On that occasion the guests entered the theatre 
 after the performance through the Beefsteak 
 Club apartments. The Old Tudor-looking rooms 
 
Professional, Artistic, and Theatrical. 333 
 
 were decorated with armour, pictures connected 
 with theatrical history, and curios, including the 
 famous silver grid on which the Sublime Society 
 had its food cooked. Any description that I can 
 give would convey a very inadequate idea of that 
 historic night. I sat between Arthur Cecil and 
 Mr. Pinero, the future dramatist, and who was 
 then a member of the Lyceum Company. As 
 this event was in honour of Shakespeare, and in 
 appreciation of the method of representing his 
 works at the Lyceum, I shall quote the Morning 
 Post, whose report forms a worthy chronicle of 
 this interesting occasion : — 
 
 Those bidden to Mr. Irving's supper, which was held on Saturday 
 night at the Lyceum in commemoration of the looth performance 
 of " The Merchant of Venice," were much astonished at the 
 transformation effected during the time of their passing from the 
 front of the theatre to the back. When, a little more than half 
 an hour after the green curtain had fallen, a body of some 350 
 guests filed down from the old Beefsteak Club-room, which was 
 used as the reception-room, the whole scene was changed. There 
 was not remaining a single trace of Belmont, with its splendour 
 of misty moonlight ; no indication of Venetian streets, or colon- 
 nades, or the court of justice. The whole stage, from wall to 
 waU and from footlights to scene dock, was a huge paviUon of 
 crimson and white, lit by two gigantic chandeliers containing 
 hundreds of lights, and by the myriad of wax candles which 
 studded the long tables from end to end. Through the filmy 
 canvas the lamps of the theatre, still left lighted, showed dimly, 
 giving unconsciously an effect of immense distance and huge 
 proportions. The occasion was a remarkable one. For the first 
 time since it was written, the play had reached a run of one 
 hundred consecutive performances; and certainly the gathering 
 to celebrate the event was a remarkable one also. Pohtics, 
 arms, law, medicine, literature, science, art, and commerce were- 
 
334 ^" Architect's Experiences : 
 
 represented, and a glance at the list of the names of the guests, 
 given below, who were present, will show how worthily. At the 
 centre of the top table sat Mr. Irving, supported right and left 
 by Lord Houghton and Admiral Sir Henry Keppel, Lord Londes- 
 borough; the Eaxls of Dunraven, Fife, and Onslow; Sir Frederick 
 Pollock, Sir Coutts Lindsay, Sir W. Gordon Gumming, Sir Charles 
 Young, Sir Henry Thompson, Admiral Gordon, Mr. Philip Currie, 
 and Mr. Tom Taylor. Around was grouped a great body of over 
 300 men, the names of nearly all of whom are familiar to every- 
 one. The evening was one of triumph, and showed the extra- 
 ordinary position which Mr. Irving has won for himself, and 
 justly won, by high and honourable ambition, exceptional ability, 
 and unceasing work. After the loyal toasts, which were drunk 
 standing, to the National Anthem, choired by boys' voices, Lord 
 Houghton proposed the one toast of the evening, to which Mr. 
 Irving of course responded. Lord Houghton is a clever and 
 witty speaker, and on the present occasion excelled in epigram, 
 happy in a cynical sense, but perhaps not altogether judicious. 
 In marked contrast was Mr. Irving's reply; no less ready, no less 
 humorous, but touched with flashes of sympathetic confidence, 
 and pervaded by the deep earnestness of purpose which marks 
 the man of belief in and harmony with an age of progress. On 
 his first rising to reply, Mr. Irving was received with ^n enthu- 
 siastic cheer, and on the conclusion of his speech, which made 
 a bright half-hour, all the enthusiasm with which his friends and 
 the public are wont to receive him broke out afresh, and cheer 
 after cheer rang through the great expanse. After the speeches, 
 the company adjourned, for the purpose of smoking, to the old 
 Beefsteak Club-room, which looked most picturesque with its 
 oaken wainscot, grained ceiling, and Tudor arches, and adorned 
 by many pictures, the chief attraction of which was Mr. Long's 
 picture of Mr. Irving as Richard III. A conspicuous object in 
 the room was the gridiron of the old Beefsteak Club, which 
 was thrice rescued from blazing theatres. With such a gathering 
 of artists there was, of course, much interesting amusement ; and 
 a late hour saw a large assembly still in the room. The following 
 is a list of the chief guests who were present : Hamilton Aide, 
 James Albery, J. K. Aston, I. E. Austin, J. Aitken, Davenport 
 Adams, James Archer, A. Andrews, J. H. Allen, D. Anderson, 
 
Professional, Artistic, and Theatrical. 335 
 
 Serjeant Ballantine, S. B. Bancroft, F. C. Burnand, Right Hon. 
 Justice Barry, J. Brodie, R.S.A., W. Ashmead Bartlett, E. L. 
 Blanchard, J. Billington, Lionel Brough, E. Bendall, Sir Julius 
 Benedict, R. Becker, A. k Beckett, T. Beale, Peter Berlyn, H. J. 
 Byron, F. Barnard, R. Shirley Brooks, J. Bennett, B. Baker, J. 
 Beveredge, A. Beaumont, E. Ashmead Bartlett, A. Branscombe, 
 Jacob Bright, M.P., J. Broadfield, H. K. Barnet, J. H. Barnes, 
 E. Brooke, A. Borthwick, C. Bernard, Captain Ward Bennett, 
 Sir W. Gordon Gumming, Bart., Savile Glarke, Comyns Garr, 
 A. Gritchett, G. Critchett, Glaude Carton, Button Cook, H. B. 
 Conway, T. Catling, Arthur Cecil, Professor Sidney Golvin, 
 Under- Sheriff Crawford, — Cattermole, W. Cuthbert, H. Cuth- 
 bert, Hawes Graven, Hay Cameron, T. Chambers, J. Chambers, 
 J. Child, J. B. Ghatterton, Dillon Croker, Philip Gurrie, C. 
 Cooper, F. Cooper, Arthur Chappell, J. Chute, J. Carter, J. 
 Calvert, J. Gowen, M.P., Hamilton Glarke, W. Gompton, John 
 Clayton, the Earl of Dunraven, T. Dowling, E. Dicey, Duffield, 
 J. Davison, A. Darbyshire, Charles Dickens, H. Dickens, C. 
 Doherty, G. Derlacher, B. Dalton, E. Elwood, the Earl of Fife, 
 G. Manville Fenn, J. Forbes Robertson, Forbes Robertson, J. 
 Fernandez, Percy Fitzgerald, D.L., Luke Fildes, A.R.A., G. Eraser, 
 Gilbert Farquhar, Horace Farquhar, F. D. Finlay, J. Fullylove, 
 Forrester, H. Ferrand, Norman Forbes, Admiral Gordon, W. 
 Grapel, Corney Grain, G. Grossimith, sen., G. Grossmith, jun., 
 Dundas Gardner, H. Goodban, Dundas Grant, J. G. Anthony, 
 Herbert Gardner, Gay Drew, H. Graves, R. de T. Gould, Lord 
 Houghton, Major-General Hutchinson, W. Hardman, J. Hassard, 
 W. Hann, Major Hughes Hallett, John Hare, Frank Hill, Went- 
 worth Huyshe, J. B. Howard, F. W. Hawkins, John Hollingshead, 
 Joseph Hatton, E. W. Hennell, Captain Talbot Harvey, Rowland 
 Hill, J. Hatton, H. Howe, J. Hurst, Thomas Hughes, M.P., 
 George Honey, J. Harwood, Sidney Hodges, H. Hudson, T. 
 Harrison, Charles Harcourt, J. Harper, Gilbert Highton, Fortescue 
 Harrison, M.P., David James, L. T. Jennings, W. S. Johnson, 
 R. Jackson, H. J. Jennings, Blanchard Jerrold, S. Johnson, 
 Edmund Johnson, R. Jeffs, Admiral Sir Henry Keppel, Joseph 
 Knight, L. Knapp, W. Beatty Kingston, W. H. Kendal, James 
 Knowles, H. Kemble, Charles Kelly, C. Lamb Kenny, C. Kinsman, 
 Lord Londesborough, Sir Baldwyn Leighton, Bart., M.P., Sir 
 
336 An Architect's Experiences : 
 
 Coutts Lindsay, Bart., F. W. Lawson, Jonas Levy, R. Halkett 
 Lord, E. Long, A.R.A., Edward Legge, E. Ledger, E. Y. Lowrie, 
 George Lewis, Walter Lacy, Henry Labouchere, H. J. Loveday, 
 G. B. Loveday, Cosmo Logie, W. R. Lawson, H. Louther, Arthur 
 Lewis, J. Latham, Hon. F. Lawley, W. A. Leggatt, H. S. Leigh, 
 Morell Longden, Henry Lee, Richard Lee, J. B. Monckton, Dr. 
 Morell Mackenzie, Frank Marshall, T. Meller, Frank Miles, J. 
 M'Henry, C. Mathews, Justin M'Carthy, M.P., J. H. M'Carthy, 
 Millward, Arthur Mathison, J. Maclean, Frankfort Moore, J. 
 M'Dermott, T. Mead, W. M'Turk, Douglas Murray, P. Middlemist, 
 J. Mortimer, F. Mackenzie, A. Mitchell, Alderman Nottage, Henry 
 Neville, T. Northcott, Dr. Nedley, H. Nicholson, the Earl of 
 Onslow, John O'Connor, T. O'Dell, W. Orchardson, R.A., H. 
 Oliver, Captain Onslow, Sir Frederick Pollock, Bart., Walter 
 Pollock, F. Pollock, E. Pinches, J. C. Parkinson, T. Purnell, L. D. 
 Powles, E. Pellew, Baden Pritchard, Dr. Peele, A. Pinero, H. 
 Payne, Val Prinsep, A.R.A., A. Paterson, J. Pettie, R.A., H. Paul, 
 J. Rodgers, J. Ryder, R. Reece, C. M'Rae, E. Russell, H. Russell, 
 A. Roche, J. Randegger, G. Rignold, Desmond Ryan, Brinley 
 Richards, Sir Bruce Seton, Bart., Dr. Max Schlesinger, Clement 
 Scott, Palgrave Simpson, T. Swinbourne, Bram Stoker, G. W. 
 Smalley, E. Saker, J. Selwyn, E. Swanborough, A. Swanborough, 
 R. Soutar, Talbot Smith, W. Spottiswoode, Linley Safflibourne, 
 J. Sapsford, J. D'A. Samuda, Tollemache Sinclair, Herbert Stack, 
 W. Sawyer, Samuel Smiles, LL.D., A. Stirling, J. L. Toole, W. 
 Thompson, W. Tinsley, Tom Taylor, W. Telbin, Alfred Thompson, 
 J. Thorley, L. Alma Tadema, R.A., John Tenniel, T. Thorne, 
 Dr. W. Thomson, Isaac Tarry, S. Timmins, F. Tyars, J. Tapping, 
 T. Tingay, J. M. Teesdale, Lionel Tennyson, Godfrey Turner, 
 Fox Turner, Sir Henry Thompson, F. Toole, Hermann Vezin, 
 Vaughan, W. H. Vernon, Hon. Lewis Wingfield, W. G. Wills, 
 A. Stuart- Wortley, Horace Wigan, S. Walker, O. Wilde, W. Wilde, 
 Hume Williams, A. E. T. Watson, Charles Warner, R. Wyndhain, 
 H. White, Dr. Forbes Winslow, Montagu Williams, Byron Weber, 
 Sir Charles Young, Bart., Edmund Yates, T. H. Young, E. Yardley. 
 Among those who were most conspicuous in the vicinity of the 
 chairman were : Lord Houghton, Lord Dunraven, Lord Londes- 
 borough, the Hon. Lewis Wingfield, Sir Frederick Pollock, Sir 
 Coutts Lindsay, Sir B. Seton, Mr. Tom Taylor, Mr. Alma Tadema, 
 
Professional, Artistic, and Theatrical. 337 
 
 R.A., Mr. Long, General Hutchinson, Mr. Justice Barry, Serjeant 
 Ballantine, Mr. Edmund Yates, Mr. Dutton Cook, Mr. Thomas 
 Hughes, Mr. John HoUingshead, Mr. Blanchard Jerrold. After 
 the banquet, which was singularly elaborate and was completely 
 successful, had been removed, 
 
 Mr. Irving proposed " The Queen and the Royal Family," 
 which was drunlc upstanding. 
 
 Lord Houghton said that this was a convivial and private 
 meeting, but he was commanded to give them a toast — "The 
 health of Mr. Henry Irving — (loud cheers)— and the Lyceum 
 Theatre.'' The occasion on which they met was a centenary of 
 the performance of " The Merchant of Venice." He did not like 
 centenaries, but " Our Boys " had had a great many centenaries, 
 and therefore our men should have more. " The Bells of 
 Corneville" had been ringing on he did not know how many 
 nights, and the " Bells of Alsace " nearly as many. For his part, 
 looking back to the days of his youth, he preferred the arrange- 
 ment by which the same pieces came on never more than twice 
 a week, when one could see various actors in various roles with 
 various and additional interest ; and he was not sure that the 
 present system did not entail upon the performers great personal 
 exertions almost to the injury of their health, and he was quite 
 sure it could not be any great benefit to art. (Hear, hear.) But 
 things must be accepted as they were, and it was under that 
 state of things that Mr. Irving had accepted the management of 
 that theatre, and he had done so under very favourable auspices, 
 for dramatic art was popular with all classes. He had come also 
 at a time when the stage was purified very much from the 
 impurity, and it might be the scandal attaching to it before, so 
 that the tradition of good breeding and high conduct was not 
 confined to special families, like the Kembles, or to special 
 individuals, like Young or Mr. Irving himself, but had spread over 
 the larger part of the whole profession, so that famiUes of condi- 
 tion were ready to allow their sons, after a university education, 
 to enter the dramatic profession. There had been a school of 
 historians who had taken upon themselves to rehabiUtate all the 
 great villains of the world. These historians made Nero and 
 Tiberius only a little diverted from their benevolent intention, 
 either by the wish to promote order amongst their people, or by 
 
 Y 
 
338 An Architect's Experiences : 
 
 an inordinate love of art. They made Richard III. a most 
 amiable sovereign, particularly fond of nephews — (laughter) — while 
 French historians showed that Marat and Robespierre were only 
 prevented from regenerating the human race by their dislike to 
 shedding human blood. (Laughter.) While upon that stage they 
 had seen a rehabilitation something of the same nature, for the 
 old Jew, Shylocli, who was regarded usually as a ferocious 
 monster, whose sole desire was to avenge himself in the most 
 brutal manner on the Christians of his neighbourhood, had become 
 a gentleman of the Hebrew persuasion — (laughter) — with the 
 manners of a Rothschild, and not more ferocious than became an 
 ordinary merchant of the period — (laughter) — afflicted with 
 a stupid, foolish servant, and a wilful, pernicious daughter ; 
 and the process went on till the Hebrew gentleman, led 
 by a strange chance into the fault of wishing to vindicate 
 in his own person the injuries of centuries of wrong to his 
 ancestors, is foiled by a very charming woman — (cheers) ; — but 
 he nevertheless retired as the avenger of the wrongs of 
 centuries heaped upon his race, accompanied by the tears of 
 women and the admiration of men. (Laughter, and hear, hear.) 
 He could quite imagine, if Mr. Irving chose to personate lago, 
 lie would be regarded not as a violent but as a very honest man, 
 only devoted to the object of preserving the honour of his wife 
 — (laughter) ; — or if he chose to resume the character of Alfred 
 Jingle, he would, instead of a disreputable character, go down 
 to posterity as nothing more than an amiable young man who 
 wished to marry the maiden aunt and give her some of the joys 
 of married life. (Laughter.) But there was one character which 
 Mr. Irving would never pervert or misrepresent, and that was 
 his own. (Cheers.) He would always show in the management 
 of his theatre the dramatic spirit which his country demanded. 
 He would always be the true artist, loving Art for its own sake 
 — (hear, hear), — following in the personalities which he repre- 
 sented no mere dramatic form, not merely tradition, but carrying 
 out as best he could the high forms of his own great imagination. 
 (Cheers.) They would see him in his relations with others, as 
 in the management of the theatre — and that was a very large 
 relation— they would see him considerate to all about him, kind 
 to and cognisant of the merits of others— a very difficult thing 
 
Professional, Artistic, and Theatrical. 339 
 
 in all forms of art, and especially in the one Mr. Irving occupied. 
 He believed that under these circumstances Mr. Irving would 
 achieve a great name, and that when the children's children of 
 those at that gathering were reading the dramatic annals of the 
 present time, and found how highly the name of Mr. Irving had 
 been mentioned under all conditions of dramatic life, they would 
 be proud to find from their family traditions that their progeni- 
 tors had been there that night. (Loud cheers.) The noble lord 
 concluded by proposing " The health of Mr. Irving," which was 
 drunk with enthusiasm, the guests rising to do honour to the 
 toast. 
 
 Mr. Irvingj who, on rising to respond, received a perfect ovation, 
 returned thanks in a singularly happy speech, in which he grate- 
 fully and courteously acknowledged the handsome terms in which 
 Lord Houghton had proposed the toast. Diverging then into the 
 facetious, he announced that he had received a five-act play in 
 blank verse, called ',' The After Life of Shylock," for which he had 
 serious thoughts of asking their consideration for one night, the 
 last scene of which was the return of Shylock to Belmont, 
 with a basket of lemons. (Laughter.) Being pathetically told, he 
 thought something might be made of it, and it was certain that 
 the sympathy of the tribe would go a great way towards insuring 
 success, for they came now from aU parts to see Shylock ; the 
 only people who did not like it being the Germans. (Laughter.) 
 At the close of a speech which kept his audience in a state of 
 hilarity for over half an hour, he did not diminish the effect of 
 his address by announcing that he gave permission to smoke 
 within the pavilion, and by providing very excellent cigars for the 
 purpose. 
 
 Of the previous performance, at which most of those present 
 at the supper " assisted," it is sufficient to say that Mr. Irving 
 acted in his best form, and received the highest support. The 
 trial scene' went with signal success, its chastened beauty — the 
 nse of such words is strictly defensible — enthralling the audience 
 and holding it spell-bound. Miss Terry's Portia, too, has ripened 
 since it was first seen, and is a bewitching piece of acting. The 
 poetry and beauty of the atmosphere surrounding the play were 
 felt by the spectators, and the entire performance had a charm 
 which may well commend it to a hundred more audiences. Those 
 
340 An Architect's Experiences : 
 
 present at both performance and supper carried away with them 
 a pleasant and, in its way, unique souvenir. The burden of 
 sustaining this was apparently too heavy for not a few of the 
 guests, judging by their reluctance to leave the scene of enjoy- 
 ment. Not too urgent in the present month are the indices of 
 dawn. These, however, gave disagreeable evidence of the 
 incoming day long before the latest guest took his departure. 
 
 During the run of "Hamlet" at the Lyceum 
 Sir Henry was strongly impressed with the idea of 
 following it with a fine production of "Coriolanus." 
 The piece de resistance was to be the correct 
 realisation of a Roman triumph. This was to 
 surpass even the entry of Henry V. into London, 
 to which I have alluded in connection with the 
 Calvert Revivals in Manchester. It was deter- 
 mined that Alma Tadema (who had just been 
 made Royal Academician) should be consulted. 
 The great painter was then living at Lichfield 
 House, Regent's Park, now occupied, I believe, 
 by Mr. H. A. Jones, the successful dramatist. 
 Thither we went ; the whole play was discussed 
 with enthusiasm, and Tadema soon set to work 
 at the costume designs. However, shortly after- 
 wards the idea of producing "Coriolanus" was 
 abandoned, for "most exquisite reasons — and 
 reasons good enough" — as Sir Toby Belch would 
 say. The distinguished painter's designs were 
 carefully stowed away in the manager's sanctum, 
 and so — exit "Coriolanus." To myself the con- 
 solation I had for the shelving of the play was 
 a knowledge of Alma Tadema, through whose 
 
Professional, Artistic, and Theatrical. 341 
 
 kindness, in after years, I experienced benefit on 
 an important occasion. 
 
 The history of Irving's regime at the Lyceum 
 will some day be written by a pen capable of 
 recording the wonderful efforts he has made in 
 honour of the "great master." I cannot, there- 
 fore, attempt to do justice to the almost herculean 
 labours of the Lyceum manager. When the task 
 is attempted it will be a heavy one, but full of 
 interest ; and the detailed history of the mar- 
 vellous series of Shakespearian Revivals, which 
 will make up a record of work since the theatre 
 opened with "Hamlet" on December 30th, 1878, 
 will be honourable to Art, and I trust an ornament 
 to English Literature. 
 
 I recollect discussing the production of "Hamlet" 
 with Irving ; on that occasion he remarked he 
 intended his work at the Lyceum should be 
 Elizabethan in character. I thought at the time 
 it would be impossible to realise the idea, and 
 it was not long before an incident occurred which 
 confirmed my doubt. When the scenes were set 
 and lighted, they were all carefully examined by 
 the manager, who would view them from all parts 
 of the house. I recollect we were seated in the 
 front row of the gallery when the beautiful scene 
 of the Castle of Elsinore, painted by Hawes 
 Craven, was revealed. After looking in silence 
 for some time, Irving quietly remarked, " I wish 
 it didn't look so like the Westminster Palace 
 
342 An Architect's Experiences: 
 
 Hotel." This was criticism in a nutshell. The 
 scene was Elizabethan in character, that is to say, 
 the window opening space was equal to, if not 
 in excess of the wall area, whereas, in fortified 
 architecture, the reverse is the case. Every 
 production at the Lyceum has been truthful and 
 accurate in all details of scenery and costume, 
 and everything has been appropriate to the place 
 and period indicated in the plays represented. 
 
 Those triumphs of stage art are fresh in many 
 memories. I would, however, here record a few 
 facts, which render the work of the Lyceum 
 manager memorable in the history of Shake- 
 spearian production, and which constitute a 
 record hitherto unapproached in the annals of 
 the Stage. 
 
 Although the Lyceum opened under Irving's 
 sole management on December 30th, 1878, it 
 must be kept in mind that the Shakespearian 
 pieces produced under the Bateman management 
 were Irving's work, and that their success was 
 owing to his strong personality. " Hamlet " was 
 first produced on the 31st of October, 1874, and 
 ran without intermission for 200 nights or per- 
 formances. " Macbeth " followed on the i8th 
 of September, 1875, with 80 performances, 
 " Othello," on February 14th, 1876, with 70 
 representations, and " Richard HI.," January 
 29th, 1877, with a run of 200 performances. 
 
 With the first representation of " Hamlet," on 
 
Professional, Artistic, and Theatrical. 343 
 
 the night of 30th December, 1878, was inaugurated 
 the magnificent series of Revivals which con- 
 stitute such a briUiant record of work under the 
 sole control and direction of Sir Henry Irving. 
 The second revival of "Hamlet" ran for 100 
 nights; then followed the "Merchant of Venice " 
 with a run of 250 performances ; " Othello " 
 (second revival), on May 2nd, 1881 ; " Romeo 
 and JuHet," March 8th, 1882, running 161 nights ; 
 " Much Ado about Nothing," October nth, 1882, 
 with a splendid run of 212 representations ; 
 "Twelfth Night," July 8th, 1884, followed by a 
 second revival of " Macbeth," on December 29th, 
 1888, with a run of 151 nights. "Henry VHI." 
 was produced on January 5th, 1892, running 
 through 203 performances ; and " King Lear," 
 on November loth, 1892, repeated 72 times. 
 Truly this is an unique chronicle in the history 
 of the theatre, and the runs of the pieces (hitherto 
 unequalled) have proved that Shakespeare, at 
 the Lyceum, has spelt anything but ruin. 
 
 The effect of Irving's work on the present 
 generation has been extraordinary ; the prejudice 
 against the Theatre has been entirely removed ;, 
 the Lyceum is the rallying place of all classes 
 of Society, and the common ground of culture, 
 refinement, and art. I know of nothing in the 
 history of modern civilisation that can compare 
 with the revolution in thought and idea caused 
 by Irving's work in connection with the Theatre 
 
344 -^" Architect's Experiences : 
 
 as a national institution. When we think of the 
 past history and vicissitudes of the Drama in this 
 country, we are able to realise what has been 
 achieved ; we can with difficulty believe that 
 when our immortal dramatist wrote, the names 
 of the scenes of his plays were written on boards 
 and hoisted over the platform, and that every 
 character, whether Greek, Roman, or mediaeval, 
 was habited in the costume of the Elizabethan 
 Era. 
 
 In Shakespeare's time the "players" had no 
 social repute ; they were strollers on the face of 
 the earth ; now they are honoured by all, from 
 the gracious Sovereign on the throne to the 
 hard-working son of toil. How has this wonder- 
 ful change been brought about ? I venture to 
 say that it is owing to the culture and enthusiasm 
 of the men who took up the Art of the 'Stage 
 on Macready's retirement, and who have spent 
 their best energies and the best part of their 
 lives in bringing the genius of Shakespeare home 
 to the hearts of the English people, by illustra- 
 tion and exposition on the lines I have advocated 
 in these pages. Let us, then, thankfully acknow- 
 ledge the services rendered to Art by the actor- 
 managers of our time ; and especially when we 
 remember that they have been rendered in honour 
 of that great genius whose work they have loved 
 and illustrated so beautifully. 
 
 It is curious to note the disposition of the 
 
Professional, Artistic, and Theatrical. 345 
 
 English playgoer with regard to the production 
 of Shakespeare's plays. He has now become 
 accustomed to see them mounted with respect 
 and reverence, and woe betide the manager who 
 is content to mount them in a slipshod or 
 poverty-stricken manner. Such a method of 
 presentation is certain to spell ruin and disaster. 
 If the work is not strictly of the nature of 
 " revival," it must be, at least, well done, or 
 left undone. This truth has been recognised by 
 such managers of culture and refinement as 
 Beerbohm Tree and Benson. The present con- 
 dition of the Stage with regard to Shakespeare 
 is entirely due to the educational and artistic 
 labours of the managers, whose work and methods 
 I have alluded to. Whilst we hold in honour 
 the memories of Kean, Calvert, and Phelps, let 
 us wish success and fortune to those who are 
 living and who are still carrying on the good 
 work of Shakespearian production. 
 
346 An Architect's Experiences : 
 
 CHAPTER XXVII. 
 
 T T is curious to find writers and theatrical 
 -*■ critics who still think that the great method 
 of Shakespearian production adopted by Charles 
 Kean, Edmund Phelps, Charles Calvert, Sir 
 Henry Irving, Beerbohm Tree, and Benson, has 
 ended in financial failure, or in old Chatterton's 
 phraseology has spelt ruin. Only recently a con- 
 tributor to the Magazine of Art wrote : "It was 
 precisely because the Provinces had no use for 
 the Shakespearian spectacle-monger that Charles 
 Calvert passed away in his prime, a broken and 
 disappointed man." To those who know the 
 facts this is a most extraordinary statement, and 
 made evidently without knowledge. Calvert did 
 not leave the scene of his triumphs because his 
 spectacle-mongering ended in financial disaster. 
 On the contrary, when the quarrel happened 
 which caused him to seek other fields for his 
 Shakespearian labours, the little theatre was earn- 
 ing a yearly profit of something like ;^i 0,000 to 
 
Professional, Artistic, and Theatrical. 347 
 
 ;^i2,ooo. This came from Shakespeare, the high- 
 class drama, and the best companies on the road.* 
 
 I have no knowledge of the financial result of 
 Charles Kean's work ; all I am certain of is that 
 he used these words in his valedictory address : 
 " / Jo not now retire from the direction of this theatre 
 through any feeling of disappointment, but from the 
 remembrance of the old adage, ' The pitcher goes often 
 to the well, but the pitcher at last may be broken.' " 
 
 It is clear that Phelps did not lose money at 
 Sadler's Wells. In his farewell address he said : 
 " The production of thirty -four plays of Shakespeare, 
 some of which have been considered unactable, is a feat 
 I believe never before attempted by any manager, at 
 least in modern times. It has been to me a labour of 
 love — an object of pride rather than a source of profit, 
 for when I tell you that the single play of ' Pericles ' 
 cost in its production £1,000, and the expense on the 
 
 ' Since writing the above, there has appeared a communication 
 from Mr. Beddoes Peacock in the Manchester City News, in which 
 after allusion to the production of " Antony and Cleopatra," by 
 Mr. Charles Calvert in 1866, and that of his son, Louis Calvert, 
 in 1897, he says : " The question of pecuniary gain or loss is 
 generally associated with the departure from the beaten track of 
 theatrical management. By those managers who dare not venture 
 upon a recourse to Shakespeare as a magnet of attraction, it is 
 persistently asserted that the proprietors of the Prince's dropped 
 a fortune by their Shakespearian revivals. On the contrary — and 
 as treasurer and secretary of the undertaking I think it ought to 
 be admitted that I was "in the know" — it was Shakespeare who 
 extricated the Prince's Syndicate out of many a hole, which had 
 been excavated by the dramas of that day." 
 
■348 An Architect's Experiences : 
 
 others being very great, you will easily perceive how 
 impossible it was in such a theatre as this that my 
 labour should be rewarded by large pecuniary profit. ^^ 
 Let us see what has happened during the last 
 twenty years at the Lyceum under the manage- 
 ment, and by the methods adopted by Sir Henry 
 Irving. I have already given a list of the 
 Shakespearian plays produced at the Lyceum, 
 and the number of performances those plays had. 
 In the issue of the Daily Chronicle, of September 
 igth, 1896, we find that Sir Henry told his 
 interviewer that " In the days of Mr. Bateman's 
 management we produced ' Hamlet,' which had 
 the unprecedented run of 200 nights at a net 
 profit of £10,000. The whole production cost about 
 ;/^ioo." He also tells us that the " Merchant of 
 Venice" cost only ^1,200. "Avery small outlay 
 on a picture of Venice." If the Lyceum A^enture 
 had proved financially disastrous, it would have 
 been nothing short of madness to risk those 
 costly visits to the American Continent, which 
 have ended in artistic and financial results un- 
 precedented in the history of the Theatre. Here 
 are a few facts in connection with the American 
 venture, given to me by Sir Henry himself. At 
 San Francisco they took in fourteen performances 
 -^15,000. At Chicago, for two performances in 
 one day of " Louis XI." and the " Merchant of 
 Venice," the receipts amounted to ^2,300. This 
 was during the Exhibition time, when the audi- 
 
Professional, Artistic, and Theatrical. 349 
 
 ences consisted of non-residents. The "Merchant 
 of Venice " ran for four weeks without a break in 
 New York, and I am not violating any confidences 
 when I record the fact that Sir Henry Irving 
 cleared by this American venture over ^30,000. 
 After this who shall say that the text is drowned 
 in scenery, or that Shakespeare spells ruin ? 
 
 I have often heard it remarked that in order 
 to attain the pinnacle of fame upon which Sir 
 Henry Irving now stands, he has lavished money 
 on his theatre, on his stage productions, and on 
 a bid for a high social position. Such a state- 
 ment is not only contrary to fact, but it is the 
 penalty a successful actor-manager has to pay 
 for the unique position occupied by Irving. Like 
 a plucky business man Sir Henry has spent 
 money where necessary in order to make money. 
 The great event in connection with the one 
 hundredth performance of the " Merchant of 
 Venice," to which I have before alluded, was 
 a judicious investment of capital towards the 
 consolidation of the Lyceum policy ; the money 
 spent on the theatre itself was a necessary ex- 
 penditure, in order to make the house a fitting 
 receptacle for the kind of audiences for which 
 the manager catered. 
 
 I recollect a curious incident in connection 
 with money outlay, which occurred on the open- 
 ing of the theatre in December, 1878, in 
 connection with the "Hamlet" production. The 
 
350 An Architect's Experiences : 
 
 morning after that memorable night, Irving, and 
 those immediately in his confidence, were as- 
 sembled in council in the managerial sanctum. 
 I entered with a copy of The Times, which 
 devoted two small paragraphs to this historic 
 event. I wanted to know the meaning of this 
 extraordinary effort at criticism, and demanded 
 the name of the author. I think Irving must 
 have had the notion that I had concealed in 
 the folds of my winter coat a horse-whip, or a 
 revengeful weapon of some kind, for with one 
 of those quaint smiles which he can put on, and 
 which mean so much more than meets the eye, 
 he said, " Yes, we know the gentleman, but The 
 Times notice will do us no harm ; although 
 it is unkind considering what we have at stake." 
 Without any further comment he proceeded to 
 cut out the notices in the other London f)apers, 
 and to spread them out on his table. This 
 done, he instructed his business manager to take 
 them to The Times office, with orders for the 
 insertion of these notices as an advertisement in 
 the Saturday issue of the paper. If I had had 
 a horse-whip or a murderous weapon concealed, 
 it would have dropped powerless to the floor ; 
 we were thunderstruck. Nothing more was said, 
 but the injured manager put on his hat, and 
 beckoning to me, said, " Let's have a stroll." 
 When clear of the theatre, he stopped in the 
 street, and looking me full in the face, said, 
 
Professional, Artistic, and Theatrical. 351 
 
 "Do you think I am mad?" or something to 
 that effect. I replied, "Well — no — not exactly; 
 but the COST, what about that ? " 
 
 " Never mind the cost," he replied. " During 
 this coming week-end the opinions of all the 
 London papers, except The Times, will come 
 under the eyes of the best people in the United 
 Kingdom through The Times. Let us observe 
 the result at the Box Office on Monday." 
 
 We did observe the result with the utmost 
 satisfaction. The cost of that advertisement 
 (which I forbear to state) was soon wiped out, 
 and "Hamlet" went on its wonderful career for 
 one hundred nights. 
 
 I have recorded the foregoing incident because 
 I knew at the time it was looked upon as an 
 extravagant waste of money in many circles of 
 London life ; but the tact of the manager 
 triumphed, and I imagine the writer of the in- 
 significant notice was not heard of since as 
 a dramatic critic of The Times. 
 
 [I am conscious that this tale of "Experiences'" has pro- 
 ceeded far enough — perhaps too far for the patience of 
 .my readers; therefore I lay down my pen, hut with 
 reluctance, as the tale-telling has afforded me a pleasant 
 task. Of what nature my future "Experiences" may 
 he, I know not; but it is hardly likely to he of sufficient 
 interest to warrant a continuance of my story ; therefore 
 I will say with Hamlet, " The rest is silence."'] 
 
GUARDIAN PRINTING WORKS BLACKFRIARS STREET, MANCHESTEF