The change next to the foregoing in importance which marks the fourth Shaksperean century is the new way in which the great mass of his admirers come to know and enjoy him. He has passed from the stage to the study, the parlor, the school-room. He is acted a little; he is read a great deal. In his first and second centuries he was known almost exclusively through the stage; in his third, the stage and the book divided about equally the office of making him known; in the fourth, Shaksperean acting has become insignificant in comparison with the general reading and teaching of Shakspere. His works are coming to be studied in all high schools, academies and colleges. Shakspere is in nearly all libraries, be they large or small. One may almost say that he is at home in nearly every house where English is read. There is hardly a town in the country which does not boast at least one well-established “Shakspere Club.” Year after year the members meet weekly to read and talk over the merits of the one writer who never tires them. The scholars of all lands know him in the printed page; all the great tongues have books of criticism in which he occupies a conspicuous place. One view of this transition from the stage to the study and the school is that Shakspere was always too large for the theater. It was in the largest sense impossible to act his plays. All acting narrowed and misrepresented him. The larger field of the book is his proper home. He gains by the liberty and healthfulness of the modern environment. The two changes which we note will bear on each other. Too many persons are coming to know what and how Shakspere wrote to permit any star-chamber of criticism to settle the authorship of these plays in darkness and secrecy; the power to form a judgment is being created in the minds of the great jury whose verdict will probably kill off the Shaksperean skepticism. We do not believe it will survive to 1964, the end of Shakspere’s fourth century. ART IN THE UNITED STATES.