of the measure of Miss Anderson's art, that in her animated moments
subsequently she should not have excelled the plastic grace of this first
picture. At the same time, to her credit it must be said, that she never
fell much below it. Her movements on the stage, her management of her
drapery, her attitudes were full of classic beauty. Actresses there have
been who have given us much more than this statuesque posing, who have
transformed Galatea into a woman of flesh and blood, animated by true
womanly love for Pygmalion as the first man on whom her eyes alight.
Sentiment of this kind, whether intended by the author or not, would
scarcely harmonize with the satirical spirit of the play, and the innocent
prattle which Miss Anderson gives us in place of it meets sufficiently
well the requirements of the case dramatically, leaving the spectator free
to derive pleasure from his sense of the beautiful, here so strikingly
appealed to, from the occasionally audacious turns of the dialogue in
relation to social questions, from the disconcerted airs of Pygmalion at
the contemplation of his own handiwork, and from the real womanly jealousy
of Cynisca."


_The Graphic_, 14th December, 1883.

"Never, perhaps, have the playgoing public been so much at variance with
the critics as in the case of the young American actress now performing at
the Lyceum Theater. There is no denying the fact that Miss Anderson is, to
use a popular expression, 'the rage;' but it is equally certain that she
owes this position in very slight degree to the published accounts of her
acting. From the first she has been received, with few exceptions, only in
a coldly critical spirit; and yet her reputation has gone on gathering in
strength till now, the Lyceum is crowded nightly with fashionable folk
whose carriages block the way; and those who would secure places to