by architectural critics and journalists. In one of the three volumes, entitled Modern Opera Houses and Theatres, which were published between 1896 and 1898, the author Edwin Sachs made reference to the Grand's "good sighting and acoustics of the auditorium, economy of space and cost, and rapidity of execution". Matcham's improvement of sightlines were a result of his use of cantilevered steel. This new design allowed for the balconies to protrude into the auditorium without the use of the supporting pillars which increased seating capacity and gave the audience better views of the stage. It was a design that Matcham patented and incorporated into all his future theatrical designs. The Paragon in Mile End, East London, in 1882, was Matcham's next major project. The design was one of importance, according to Walker, as it showed a great emphasis on the ventilation system—the first of its kind—which used a sun burner in the roof and warm air ducts, above ground level, which emitted draughts. The builders of the theatre, Crowder and Payne, advertised the venue as being "the best-ventilated theatre in London". It opened in May the following year to much praise for its achievements in audience comfort. The success of the Paragon allowed Matcham to open up his own office in Belfast in 1884. Work under the Revills Outside of London, and prior to 1886, Matcham only had two designs commissioned, both in Glasgow: Hengler's Grand Cirque and the Royalty Theatre. In 1879 he started work on the redesign of the Royalty, a playhouse originally designed by James Thomson and one that had been built on the first floor of a four-storey building. The layout was problematic and Matcham had to make a series of adjustments. To compensate, he designed a ventilation system which involved the installation of an exhaust duct over the auditorium gas light which caused the heat from the burners to rise up and create a movement of air through the theatre. It was a design that he also used on the Gaiety, Matcham's second Glaswegian theatre. The Royalty took just four weeks to complete and was relatively inexpensive, two factors that helped enhance his reputation. Matcham met the actor and theatrical manager James Elliston in 1886. Elliston, a native of Edinburgh, had heard of the architect through his work in Glasgow and commissioned him to reconstruct the side boxes and gallery and to improve the acoustics