Thomas Ball, who was originally a portrait-painter, and who continues to adorn our public squares with meritorious sculptures, is another artist to whom we are indebted for one of the most spirited and correct equestrian statues in the country. We refer to his "Washington," in the Public Garden in Boston. Pleasing when regarded artistically, cavalrymen also like it for its truth to nature. The group called "Emancipation," in Lincoln Park, at Washington, is also by Mr. Ball. An equestrian statue that is destined to occupy a high position in our native art is that of General Thomas, by J. Q. A. Ward. It is of colossal size, and has been cast in bronze at Philadelphia. There is a force in the action, an originality in the pose, a justness in the proportions of both horse and rider, that render it exceptionally excellent. In Mr. Ward we see one of the most vigorous and individual sculptors of the age. As an influence in our art his example is of great importance, because while placing at its true value the good that may be obtained by familiarity with the models of classic art, whether by the study of casts at home or abroad, he recognizes the basal principle of all true art--that its originating force must proceed from within, and that culture can only supplement, but cannot supply the want of, genius in the artist or the people. And thus, while thoroughly conversant with foreign and antique art, Mr. Ward has worked at home, and drawn the sources of his inspiration from native influences. He has a mind overflowing with resources; his fancy is never still; he is ever delighting to sketch in clay, if the term may be so used. Many are familiar with the noble statue of Shakspeare and the "Indian Hunter" in the Central Park. The latter, although not in all respects anatomically correct, is in spirit and design one of the most notable works produced by American plastic art. But the bronze statue of Washington recently set up at Newburyport is, perhaps, the best existing specimen of Mr. Ward's skill. The subject is not a new one; in fact, it has been treated so many hundred times in one form or another that especial originality was needed to render it again with any degree of freshness and interest. But the effort has been crowned with success. There is in this statue, which is of colossal size, a sustained majesty, dignity, and repose, and a harmony of design rarely attained in modern sculpture.