big one is used for an office as much as possible, where the actor does all his correspondence. Note the old-fashioned high wire fender, the heavy plush curtains, and elaborate rosewood furniture. It is a most artistic apartment. Those speaking-tubes communicate with the stage door, prompter, box office, and acting manager.
Mr. Hare's inner room.
The pictures which adorn the walls are as varied as they are valuable. Here may be found Leslie Ward's caricature of Corney Grain and of George Grossmith, together with an old engraving of Garrick, after R. E. Pine, published in 1818. Just by the glass is one of the few photos of Compton, in frock coat and plaid tie. Many a reminiscence of the Hare and Kendal management is about, and on the mantel-board of ebony and gold—over which rests the customary horse-shoe with the initials J. H. in the centre—portraits in silver frames of members of Mr. Hare's family are to be seen.
But by far the most attractive corner is a little room, scarcely large enough for two people to stand in, which branches off from the more spacious apartment. There, hanging up, is the light suit worn as Benjamin Goldfinch, with the long black coat which flaps about so marvellously—the actor finds plenty of "character" even in a coat—and the shepherd's-plaid trousers.
The looking-glass is of walnut, with electric lights on either side shaded with metal leaves. In front of this he sits, amidst a hundred little oddments. Here are tiny bottles of medicine and quinine—for the actor being is a firm believer in the properties of this traditional strength-reviver. The little room is as comfortable as it well can be, and has a thoroughly domesticated air about it.
There are many things to notice as we pass through the passages on our way toward Mr. Charles Wyndham's room at the Criterion; programmes and play-bills in German and Russian of "David Garrick"—in fact the passages are literally decorated with mementoes of the clever comedian's admirable impersonation of this character. A bronze of the actor as Davy raising the glass on high, and a massive silver loving cup, engraved "Garrick," is mounted on a pedestal bearing the inscription "Charles Wyndham, Von Direktor Lautenberg, Residencz Theatre, Berlin, December, 1887." Prints and pictures typical of Russian life are freely displayed. And here is an exceptional curiosity, and one which is doubtless highly treasured. In a modest oak frame is a piece of paper which once served to settle a little dispute, which is historical among things theatrical:—
"Mr. Bedford wages two gallons of claret with Mr. Williams, that Mr. Garrick did not play upon ye stage in ye year 1732 or before."
Then follows the suggestive word "Paid," and below it are the words:—
"I acted upon Goodman's Fields Theatre for ye first time in ye year 1741.
"Somerset Draper."
Mr. Wyndham's room has one thing about it which distinguishes it from all similar apartments in London. It is next to the stage, and by pulling up a little red blind he can see through an aperture just what is going on, and know exactly when his services are required.
The room is square, divided by a curtain. Strange to say, not a single portrait of a brother actor is apparent; but, whilst the actor paints his face, he can see many an invitation to dinner negligently thrust in the edges of the gilt frame. The dressing-table which occupies nearly the whole length of one end of the room is fully
