be in the triumph of the sculptor's art, endowed by the gods with life, a
supernatural grace and beauty. The singular picturesqueness of Miss
Anderson's poses and gestures, the consequences of careful study of the
best sculpture, has been noted in all that she has done, and this quality
fits her peculiarly for the part of the vivified statue. In this respect
it is little to say that Galatea has never before been represented with so
near an approach to perfection."


_Daily News_, 10th December, 1883.

"The part of Galatea, in which Miss Anderson made her first appearance in
England at the Lyceum Theater on Saturday evening, enables this delightful
actress to exhibit in her fullest charms the exquisite grace of form and
the simple elegance of gesture and movement by virtue of which she stands
wholly without a rival on the stage. Whether in the alcove, where she is
first discovered motionless upon the pedestal, or when miraculously endued
with life, she moves, a beautiful yet discordant element in the Athenian
sculptor's household. The statuesque outline and the perfect harmony
between the figure of the actress and her surroundings, were striking
enough to draw more than once from the crowded theater, otherwise hushed
and attentive, an audible expression of pleasure. Rarely, indeed, can an
attempt to satisfy by actual bodily presentment the ideal of a poetical
legend have approached so nearly to absolute perfection."


_The Morning Post_, 10th December, 1883.

"'Pygmalion and Galatea,' a play in which Miss Mary Anderson is said to
have scored her most generally accepted success in her own country, has