were most skillfully arranged to look like the work of the chisel.  It is significant 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 witness her performances are met at the box offices with the information that all the seats have been taken long in advance.  How are we to account for the fact that this young lady who came but the other day among us a stranger, even her name being scarcely known, and who still refrains from those ‘bold advertisements,’ which in the case of so many other managers and performers usurp the functions of the trumpet of fame, has made her way in a few short months only to the very highest place in the estimation of our play going public?  We can see no possible explanation save the simple one that her acting affords pleasure in a high degree; for those who insinuate that her beauty alone is the attraction may easily be answered by reference to numerous actresses of unquestionable personal attractions who have failed to arouse anything approaching to the same degree of interest.  As regards the unfavorable critics, we are inclined to think that they have been unable to shake off the associations of the essentially artificial characters—­Parthenia and Pauline—­in