Now, it is evident that Miss Filippi's object in forming her "Students' Theatre" comes very near in its aim to the one the character-actors should have in view, that of removing the attention of playgoers from personality, and concentrating it on the art of impersonation. And this is an art which no novice can hope to excel in. The training for this kind of art requires a long apprenticeship, and the actor cannot hope to reach the topmost height as an impersonator until he has had many years of experience on the boards. In fact, he will have passed into the meridian of life before he can become a fine character-actor. May it not, then, be put forth as a practical proposition that Miss Filippi and her youthful enthusiasts should join forces with the character-actors, and try to run a theatre with some small public endowment for a common cause? In this way there would be a possibility of the public being attracted, and willing to pay for its seats, having the assurance that both talent and experience would be seen at the "Students' Theatre." The initial difficulty in such a scheme would, of course, be the admission of candidates, whether students or actors. And while it would be essential to ask for the willing co-operation of those actors who already possessed undoubted reputations as character-actors, a test qualification would have to be found which would inspire confidence both in the public and in the profession, that those who were elected members had in them the necessary material for the art of impersonating character. In fact, the reputation of the theatre should be built upon the knowledge that only those who had passed the test qualification were admitted to the rights of membership. The following kind of test might be tried, perhaps, to ascertain the ability of the candidate as an impersonator. He might appear before twelve of the members, and during the space of half an hour, without leaving the platform, impersonate three different characters all of the same type. If the candidate wishes to qualify for juvenile parts, then he must satisfy his judges that he is able to impersonate three young men who may have some resemblance to each other in appearance, but who are all different in character, in voice, and in deportment, or he may decide to be judged by his impersonation of middle-aged city clerks, bumpkins, or pedants; but in every case he should be able to satisfy his judges that he can show three distinct characters of the same type. In this way mere vocal dexterity, mimicry, and "make-up," would not insure election. The best character-acting is, of necessity, limited in its extent. The "light" comedian cannot and should not appear as the "heavy" father, nor the lean beggar as the fat boy. Some actors can include a larger range of parts in their repertory than others. But the real test of character-acting is in having the ability to reproduce subtle shades of characterization in certain recognized types.