That old beaver hat was worn in "Charles I." and "The Dead Heart"—now it is the characteristic head-gear of The Master of Ravenswood. The hat worn in the last act did duty ten years ago in "The Corsican Brothers."
There, just by the long pier glass, is the old fashioned oak dressing-table, of a pattern associated with the days of King Arthur—in fact, the table has done duty in "Macbeth" in one of the banqueting scenes. Handle some of the veritable curiosities on it. The very looking-glass is tied up with string—it has reflected its owner's face for fourteen years, and went across the Atlantic with him. The old pincushion went as well. On a chair are the actor's eye-glasses, which he always uses when making up. Scissors, nail parers, &c., are about, whilst the paints lie in a little side cabinet by the looking-glass, and four diminutive gallipots are conspicuous, filled with the colours mostly used. A great tin box of crepe hair is also at hand, for Mr. Irving makes all his own moustaches. He gums a little hair on where needed and then works in colour to get the effect.
The wicker hand-basket is interesting. The dresser carries this to "the wings" when the actor needs a rapid change of "make-up." It has three compartments, holding a glass of water, powder puff, saucer containing fuller's earth, cold cream, hare's foot, lip salve, rouge, and a remarkably old comb and brush. Here is a striking collection of rings; a great emerald—only a "stage' gem, alas—is worn in "Louis XI." and "Richelieu," whilst here is one worn as Doricourt in the "Belle's Stratagem," the space where the stone ought to be being ingeniously filled up with blue sealing wax. These long pear-shaped pearl earrings are worn as Charles I., such as all gay cavaliers were wont to wear.
Eugene Aram's lantern.
You can handle the quaint old bull's-eye lantern which tradition says Eugene Aram carried on the night of the murder—for it is on the table. A piece of wick still remains and grease is visible—not as the morbid Aram left it, but as last used. The lantern itself is of stamped metal. The glass on either side is there, though that through which the light was seen in the centre has long since left. It is a highly interesting relic.
Be careful not to step into a big flowerpot saucer just close by, where "Fussie" drinks; mind not to overturn what looks like a magnified pepper-box near the fireplace, but which, after all, only contains the dust which is "peppered" on to the actor's long boots, to make them look travel-stained and worn. Then walk round the room and admire the treasures.
There is a little gift sent from Denmark. In a neat oak frame is a picture of Elsinore, sprays of leaves from "Ophelia's brook," and a number of tiny stones and pebbles from "Hamlet's Grave." Here again is Kean, by Sir Thomas Lawrence, a small "Maclise," a sketch by Charles Matthews, Fechter—who used to dress in this very room himself—as The Master of Ravenswood, Ellen Terry as Ophelia, Sara Bernhardt, and John L. Toole. Variety is found in a pair of horseshoes, one of which Mr. Irving carried with him to America.
Over the crimson plush mantel-board is "Garrick in the Green-room," and on either side a pair of ancient coloured prints of the one and only Joey Grimaldi, one of which represents him "as he appeared when he took his farewell benefit at Drury Lane Theatre on June 27, 1828," with pan and soap in his lap, arrayed in highly coloured garments, wonderfully made, and wearing a remarkably broad smile on his face. But to mention every one of Mr. Irving's treasures would be impossible.
The play over, he is in walking costume, cigar alight, and away in less than a quarter of an hour—"Fussie" with him, following faithfully in his steps.
Mr. Toole's room is exactly what every body imagines it to be—cosy and homely, like its genial occupant. The casual passer-by over the iron grating in King William-street little thinks that he is throwing a momentary shadow over the very corner where Toole's washstand, soap and towel find a convenient lodging.
How simple everything is! The little table in the centre where Toole sits down
