disparagement is that which pretends to account for all Miss Anderson's
popularity by her beauty. It is her beauty, these people say, not her
acting, that draws the crowd. We suspect the fact to be that Miss
Anderson's uncommon beauty is rather a hindrance than a help to the
perception of her real dramatic merits. People do not easily believe that
one and the same person can be distinguished in the highest degree by
different and independent excellences. They find it easier to make one of
the excellences do duty for both. Miss Anderson, it may be admitted, is
not a Sarah Bernhardt. At the same time we must observe that at
twenty-three the incomparable Sarah was not the consummate artist that she
is now, and has been for many years. We are not at all inclined to rank
Miss Anderson as an actress at a lower level than the very high one of
Miss Helen Faucit, of whose Antigone she reminded us in several passages
last night. Miss Faucit was more statuesque in her poses, more classical,
and, perhaps, touched occasionally a more profoundly pathetic chord. But
the balance is redeemed by other qualities of Miss Anderson's acting,
quite apart from all consideration of personal beauty.

"'Ingomar,' it must be said, is a mere melodrama, and as such does not
afford the highest test of an actor's capacity. The wonder is that Miss
Anderson makes so much of it. In her hands it was really a stirring and
very effective play."


_Dublin Daily Express_, 28th March, 1884.

"MISS ANDERSON AS GALATEA.

"Nothing that the sculptor's art could create could be more beautiful than
the still figure of Galatea, in classic _pose_, with gracefully flowing