he man who
created her is readily understood. By the classic beauty of her features
and the perfect molding of her figure she is enabled to give all possible
credibility to the legend of her miraculous birth. Moreover, the
refinement of her bearing and manner allows no jarring note to be struck,
and although, when Galatea sadly returns to marble not a tear is shed by
the spectator, it is felt that a plausible and consistent interpretation
of the character has been given."

_The Times_, 10th December, 1883.

"Mr. Gilbert's play 'Pygmalion and Galatea,' is a perversion of Ovid's
fable of the Sculptor of Cyprus, the main interest of which upon the stage
is derived from its cynical contrast between the innocence of the
beautiful nymph of stone whom Pygmalion's love endows with life, and the
conventional prudishness of society. Obviously the purpose of such a
travesty may be fulfilled without any call upon the deeper emotions--upon
the stress of passion, which springs from that 'knowledge of good and
evil' transmitted by Eve to all her daughters. It is sufficient that the
living and breathing Galatea of the play should seem to embody the classic
marble, that she should move about the stage with statuesque grace and
that she should artlessly discuss the relations of the sexes in the
language of double intent. Miss Anderson's degree of talent, as shown in
the impersonations she has already given us, and her command of classical
pose, have already suggested this character as one for which she was
eminently fitted. It was therefore no surprise to those who have been
least disposed to admit this lady's claim to greatness as an actress that
her Galatea on Saturday night should have been an ideally beautiful and
tolerably complete embodiment of the part. If the heart was not touched,
as, indeed, in such a play it scarcely ought to be, the eye was enabled to
repose upon the finest _tableau vivant_ that the stage has ever seen. Upon
the curtains of the alcove being withdrawn, where the statue still
inanimate rests upon its pedestal, the admiration of the house was
unbounded. Not only was the pose of the figure under the lime-light
artistic in the highest sense, but the tresses and the drapery 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