After _Mid-Channel_, Miss Barrymore had to be considered as one of the artists of our stage, if she and her managers could only agree to let her remain so. She revived _Alice-Sit-by-the-Fire_, and played it with far more feeling and a more convincing sense of maternity than she had shown before; she has played the insurgent wife in Barrie’s one-act masterpiece, _The Twelve-Pound-Look_, with a sure-handed mastery of the ironic and subtle that belongs only to a finished actress; she has, most recently of all, acted Madame Okraska, in the dramatization of _Tante_, with a keenness of insight into character and a finesse that showed again how far she had traveled since the days of _Captain Jinks_. Let us hope that henceforth Miss Barrymore’s unquestioned talent will not be allowed to expend itself on unworthy material. Next to Mrs. Fiske, the leading actress of our contemporary stage is undoubtedly Margaret Anglin.[214] Her training has had a wider range, and her artistry a more varied accomplishment, than those of any other actress on our stage. Born in Canada of a non-theatrical family, she came to New York to study. She is one of our few brilliant actresses who have come to the stage by way of the dramatic schools. In 1894, when she was eighteen, she was Madeline West in Charles Frohman’s production of _Shenandoah_. When she was twenty she was playing Ophelia and Virginia in James O’Neill’s company, and from that day to this she has been one of America’s dependable and versatile stage artists. A few years ago we thought of her as a powerful emotional actress who had come through an apprenticeship in barnstorming, and an early recognition of merit as Roxane to Mansfield’s Cyrano, to full measured achievement in _Mrs. Dane’s Defence_, _The Great Divide_, and _The Awakening of Helena Ritchie_,--with a large number of plays and parts scattered in between. But of late years she has broadened her art and made secure her place among contemporary actresses not only by plunging wholeheartedly into a campaign in Shakespeare, but by ranging even farther and acting the heroines of Greek tragedy. Miss Anglin is as effective in comedy--witness _Green Stockings_ and _Lady Windermere’s Fan_ as recent instances, and her Lady Eastney in _Mrs. Dane’s Defence_ for an earlier one--as she is in emotional rôles; she has acted in Australia as well as in America; she was the first artist to carry about the country a repertoire of plays set in accordance with the ideals of the new stagecraft; and as Mr. Eaton has said, “as a stage manager she has succeeded in reviving something of the atmosphere of good breeding, of polite comedy, of perfect ensemble and polish, which we associate with the memory of Lester Wallack.” It is an ample, dignified career, now happily at its height, of hard working service to the art of the actress.