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104 Blackfriars, of which there were two editions so to speak, and the little-known Whitefriars. ‘Their distinctive feature was, of course, that they were roofed: it is perhaps a little misleading to add that they “were occupied by boys,” though it is generally true.

An interesting chapter (XVIII.) on “The Structure and Conduct of the Theatres” is followed by three more treating the important and difficult question of “Staging.” These, which fill 150 pages, are among the ablest and most valuable in the whole work, but present space forbids my touching on a subject on which I could only comment at length.

I pass to the Fifth and last Book entitled “Plays and Playwrights,” but in the first chapter (XXII.), “The Printing of Plays,” I find myself treading on somewhat delicate ground. The author explains that it has been included out of a sense of duty and that he would have been well content to have left the subject with a reference to the researches of Mr. A. W. Pollard. I do not think I shall be thought wanting in respect to the Professor of Bibliography if I say that students have every reason to rejoice that duty prevailed. For Dr. Chambers’ chapter contains by far the best account of the organisation of the printing trade in respect both to commercial and official control that has so far appeared; while almost equally valuable are the criticisms of the general historian upon those methods and results of more technical bibliographers that have of late figured so largely in Shakespearian criticism. As I may not be free from prejudice in this matter, I will content myself with expressing a merely personal belief that Mr. Pollard’s conclusions rest on somewhat securer foundations than Dr. Chambers is inclined to allow.

Linked to this chapter is an equally admirable appendix (L.) summarising the bibliographical information respecting all plays entered or not entered in the Stationers’ Register. There is, however, one point on which a word of warning should be added. In the column headed “Publisher” it will be observed that to some names the symbol “(s)” is added, and Dr. Chambers explains that this means “not that a play is printed ‘for’ stationer, but that it is ‘to be sold by’ a stationer; it is not quite clear how far the two formulae are equivalent.” The answer is no-far. When a play is only “to be sold by” a stationer, then the printer and not the bookseller must be regarded as the publisher, and will be found to own the copyright. There are, I am aware, apparent exceptions,