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In this instance he took himself, Ellen Terry, Alice Comyns-Carr (Terry's costume designer) and her husband, the dramatist and critic Joseph Comyns-Carr, to Nuremberg to carry out research. His anxiety for complete accuracy and realism was such that shortly after their arrival in Nuremburg Irving also wired for his scenic artist, Hawes Craven, to join him so that Craven could study the landscape at first hand. \r\n\r\nIn preparing to stage <i>Faust</i> Irving had invested heavily in not only the scenery, but also the special effects. One of the most spectacular of these 'effects' was the real electric sparks that flashed between the swords of the devilish Mephistopheles (Irving) and Faust (on the first night H.B. Conway (d.1909) played this part, the next day Irving recast George Alexander (1858-1919) in the role): an effect achieved by connecting the swords of the combatants (who wore insulated gloves) to primitive electric mains.  \r\n\r\nAlthough many theatrical critics condemned Irving's use of special effects to heighten tension, (some even suggesting the production bore a greater resemblance to a pantomime than a work of serious drama), it achieved great commercial success. Irving made over 700 appearances as Mephistopheles and the work remained in the Lyceum company repertoire from its opening night in 1885 until the end of Irving's partnership with Terry in 1902. \r\n\r\nIrving became a professional actor in 1856, and learned his trade in regional theatres until 1866, when he came to London.  He joined the Lyceum Theatre company under the management of H.L. Bateman in 1871, winning great acclaim that year for his psychologically developed characterisation of the guilt-ridden inn-keeper Mathias in Leopold Lewis's melodrama <i>The Bells</i>.  He took on the responsibilities of 'actor-manager' in 1878 when he assumed the management of the Lyceum, and remained there until 1902, enjoying star status with his leading lady Ellen Terry (1847-1928).  Irving produced a diverse range of old and new plays at the Lyceum, including Shakespeare, historical drama, and literary adaptations.  His tireless work to elevate the status of the theatrical profession was rewarded in 1895 when he became the first actor ever to receive a knighthood for services to the Theatre.\r\n\r\nIrving specialised in spectacularly staged productions with large casts of performers. He commissioned designers and composers to create appropriate scenery, costume and incidental music, played by a full orchestra.  Although electric lighting was available from the 1880s, Irving preferred the softer effects of gas, with lime light to focus attention at key points in the play.  Irving toured complete productions outside London, taking the full company, scenery and costumes throughout the United Kingdom and across the United States and Canada.  The development of the railway system made his the first generation able to achieve this level of touring productions.","physicalDescription":"<b>S.2766:1-2010</b>\nLarge circular cloak of red crepe with vandyked and beaded edge, beads are crumbling. Edged at hem with dark red knitted silk cord binding.  Metal spring clip at neck.\n\n<b>S.2766:2-2010</b>\nJerkin/under-doublet with short sleeves with vandyked and beaded edges and close under-sleeves to match, mounted on an old grey tweed waistcoat for wear as an under-doublet, and with flap of red corded silk on right side under belt-hook.\n\n<b>S.2766:3-2010</b>\nAsymmetrical shoulder-drape of red crepe with vandyked and beaded edge, tacked together to represent a rolled-up cloak. Beads crumbling at hem.\n\n<b>S.2766:4-2010</b>\nSleeveless jerkin/over-tunic of red corded silk, lower edge sloping down to left and mounted with belt-hooks, front ornamented with flame-shaped motifs of red glass beads (nine at the hem, five at the chest). Cream padded satin lining, with boning.\n\n<b>S.2766:5-2010</b>\nShort, close breeches of red corded silk, with vandyked and beaded edges. Hardly worn. Working pockets in side.\r\n\n<b>S.2766:6-2010</b>\nStock of red silk and plush velvet. Red velvet around neck attached to ribbed silk, 'V' shaped, backing. Fastens at the back with strap and metal buckle. Buckle stamped 'Paris'.\n\n<b>S.2766:7-2010</b>\r\nSmall red crepe coif with fringe of short, grizzled hair. Edged in metal and resin beads. Fitted close to the head, finishing in a point at the back of the neck. Shaped around the ears with 'widow's peak' at centre front. Also stiffened with fabric and 'boning' at the 'points'.\n\n<b>S.2766:8-2010</b>\r\nCowl of red crepe with wired front suggesting small horns. Vandyked edging at hem with beading (now crumbling). Fastens at the neck with eight red silk floss covered buttons. Two small slits (roughly at 'ear level').\r\n\n<b>S.2766:9-2010</b>\nCaped hood of red crepe with long liripipe and tall orange, black tipped, feather. Wired at front to simulate horns. Has two small slits, each side, at 'ear level'. Closes at the neck with seven red slik floss covered buttons. The liripipe is weighted at the tip.\n\n<b>S.2766:10-2010</b>\r\nCrimson silk tights. Six buttons around the waist. Two pairs on either side of the front and one on each side of the back, to take braces. Cream cotton facing behind each button. Indications that there was once a drawstring at the waist.\n\n<b>S.2766:11-2010</b>\r\nPurse, the body made from red silk damask, on the front of the purse the flower pattern of the damask is picked out with faceted red beads and there is a large red glass 'jewel'. There are two loops at the top, presumbly so that the purse can be suspended from a belt. Lined with ribbed silk and silk satin.\n\n<b>S.2766:12-2010</b>\r\nShoe with electric connection to glove. The shoe (for the right foot) is made from dark red suede and lined with canvas. It has a strap closure across the instep and a small flame decoration has been appliqued to the front. Small heel. Copper plate nailed to sole of the shoe, with a further copper plate on the heel which is attached with two screws. There are two further large screws, front and back, the back screw keeping it in place, the front screw holding a braided electrical flex in place. This flex runs between the shoe and a single right hand suede glove. A section of metal chain mail has been stitched to the palm of the glove, to which the flex is attached.","artistMakerPerson":[{"name":{"text":"Unknown","id":"A1848"},"association":{"text":"makers","id":"AAT251917"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"crepe","id":"AAT183741"},{"text":"silk (textile)","id":"AAT243428"},{"text":"beads","id":"x32809"},{"text":"velvet","id":"AAT133711"},{"text":"satin","id":"AAT132902"},{"text":"suede","id":"AAT193368"},{"text":"canvas","id":"AAT14078"},{"text":"metal","id":"AAT10900"}],"techniques":[{"text":"sewing","id":"AAT53658"}],"materialsAndTechniques":"Crepe, vandyked and beaded (cloaks S.2766:1-2010 and S.2766:3-2010); Tweed-mounted, vandyked and beaded, with corded silk (jerkin S.2766:2-2010); Corded silk, satin and glass beading (jerkin S.2766:4-2010); Corded silk, vandyked and beaded (breeches S.2766:5-2010); Silk and plush velvet with metal buckle (stock 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Wills's play <i>Faust</i>, at the Lyceum Theatre","bibliographicReferences":[{"reference":{"text":"Holmes, Martin. <i>Stage Costumes and Accessories in the London Museum</i>. London : HMSO, 1968","id":"AUTH357874"},"details":"no.110","free":""}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"Gallery rotation, 2022\n\nCOSTUME WORN BY HENRY IRVING AS MEPHISTOPHELES IN <i>FAUST</i>\r\n1885\n\r\nActor-manager Henry Irving played the demon, Mephistopheles, in W.G. Wills’s version of Goethe’s drama, Faust. Irving’s productions at the  Lyceum Theatre were famous for their spectacular settings that resembled ‘living paintings’. In preparation for Faust, Irving and his scene painter, Hawes Craven, spent weeks in Nuremburg, Germany, seeking real examples of the settings they would recreate on the stage.\r\n\nSilk, glass beads, metal and wool\r\nGiven by the Royal Shakespeare Company\r\nMuseum nos. S.2765-2010, S.2766:1, 2, 4, 5, 9-2010, NCOL.192-2020\n\nand\n\nELECTRIC SHOE AND INVISIBLE GLASSES WORN BY HENRY IRVING IN <i>FAUST</i>\r\n1885\n\r\nHenry Irving was aware of the impact of lighting and exploited the gloom of the Lyceum’s gas-lit stage. These glasses were invisible from the auditorium but gleamed under stage lights so that Mephistopheles’s eyes appeared to cast a demonic beam. Using the latest technology, Irving ingeniously engineered a spectacular sword fight between Faust, Mephistopheles and Valentine. Real electric sparks flashed between their clashing blades. Metal plates on the stage carried the current through special shoes worn by the performers and into their swords.\r\n\nGlasses\r\nSteel wire and glass lenses\r\nGiven by the British Theatre Museum Association\r\nMuseum no. S.1214-1984\n\r\nShoe\r\nSuede, canvas, metal and wire\r\nGiven by the Royal Shakespeare Company\r\nMuseum no. S.2766:12-2010","date":{"text":"07/03/2022","earliest":"2022-03-07","latest":"2022-03-07"}}],"partNumbers":["S.2766:1-2010","S.2766:2-2010","S.2766:3-2010","S.2766:4-2010","S.2766:5-2010","S.2766:6-2010","S.2766:7-2010","S.2766:8-2010","S.2766:9-2010","S.2766:10-2010","S.2766:11-2010","S.2766:12-2010"],"accessionNumberNum":"2766","accessionNumberPrefix":"S","accessionYear":2010,"otherNumbers":[{"type":{"text":"Museum of London number","id":"THES55722"},"number":"56.4/53a to l"}],"copyNumber":"","aspects":["WHOLE","cloak [1]","jerkin [1]","cloak [2]","jerkin [2]","breeches","stock","coif","cowl","hood","tights","purse","shoe"],"assets":[],"recordModificationDate":"2026-04-10","recordCreationDate":"2010-11-09","availableToBook":false}}