e, the curtains of the recess in the sculptor's studio were
thrown back from the statue, a perfect wealth of art was displayed in its
pose; it seemed indeed to be a realization of the author's conception of a
figure which all but breathes, yet still is only cold, dull stone. From
beginning to end, Miss Anderson's Galatea is a captivating study in the
highest sphere of histrionic art. There is no part of it that can be
singled out as better than another. It is a compact whole such as only few
actresses may hope to equal."

_Dublin Evening Mail_, 22d March, 1884.

"MARY ANDERSON AT THE GAIETY.

"Notwithstanding all that photography has done for the last few weeks to
familiarize Dublin with Miss Anderson's counterfeit presentment, the
original took the Gaiety audience last night by surprise. Her beauty
outran expectation. It was, moreover, generally different from what the
camera had suggested. It required an effort to recall in the brilliant,
mobile, speaking countenance before us the classic regularity and harmony
of the features which we had admired on cardboard. Brilliancy is the
single word that best sums up the characteristics of Miss Anderson's face,
figure and movements on the stage. But it is a brilliancy that is
altogether natural and spontaneous--a natural gift, not acquisition; and
it is a brilliancy which, while it is all alive with intelligence and
sympathy, is instinct to the core with a virginal sweetness and purity. In
'Ingomar' the heroine comes very early and abruptly on the scene before
the audience is interested in her arrival, or has, indeed, got rid of the
garish realities of the street. But Miss Anderson's appearance spoke for
itself without any aid from the playwright. The house, after a moment's
hesitation, broke out into sudden and quickly-growing applause, which was
evidently a tribute not to the artist, but to the woman. She understood
this herself, and evidently enjoyed her triumph with a frank and girlish
pleasure. She had conquered her audience before opening her lips. She is
of rather tall stature, a figure slight but perfectly modeled, her
well-shaped head dressed Greek fashion with the simple knot behind, her
arms, which the Greek costume displayed to the shoulder, long, white, and
of a roundness seldom attained so early in life, her walk and all her
attitudes consummately graceful and expressive. A more general form of
disparagement is that which pretends to account for all Miss Ander