There are other American sculptors deserving more than mere allusion, like Dexter, Richard Greenough, Barbee, Volk, Edmonia Lewis, Van Wart, Ives, Macdonald, Kernys, Ezekiel, Calverly, and Haseltine, who in portraiture or the ideal have won a more than respectable position; but our space limits us to a notice of several artists who, like Ward, combine great natural ability with traits distinctively American. One of these is Erastus D. Palmer, of Albany, who has won transatlantic fame by the purity and originality of his art. The son of a farmer, and exercising the calling of a carpenter until nearly thirty, Palmer did not yield to the artistic yearnings of his nature until comparatively late in life. When he at last took up the pursuit of art, it was in his own town that he studied and sought fame, and his success was rapid and entirely deserved. Few of our sculptors have been such true votaries of the ideal, few have been able better to give it expression, and none have shown a type of beauty so national, or have more truly interpreted with an exquisite poetic sense the distinctive domestic refinement or religious thought of our people. It is beauty rather than power that we see expressed in the works of this true poet--moral beauty identified with a type of physical grace wholly native. It is an art which finds immediate response here, for it is of our age and our land. Among the notable works of Palmer are his "Indian Captive," "Spring," "The White Slave," and "The Angel of the Sepulchre;" but we prefer to these the exquisitely beautiful bass-reliefs in which he has embodied with extreme felicity the domestic sentiments or the yearnings and aspirations of the Christian soul. The radical fault of Palmer's art is that he has depended more on his fancy than upon a direct study of nature for his compositions. The natural result has been that he soon began to lapse into mannerism, which has become more and more prominent in his later works. Another sculptor of great ability owes his first instruction in the plastic art to Palmer--Launt Thompson. He was a poor lad who early showed art instincts, but was employed in the office of Dr. Armsby, until Palmer stated one day that he was in search of an assistant, and asked Dr. Armsby if he could recommend any one. The doctor suggested Thompson (who was in the room) as a youth who had a turn that way, but had been unable to find opportunity to gratify his art cravings. Thus began the career of one of our strongest portrait sculptors. In the modelling both of the bust and the full figure, Thompson has been equalled by very few American sculptors. Among many successful works may be mentioned his Napoleon, Edwin Booth, General Sedgwick, at West Point, and President Pierson, at Yale College. It is a cause for just regret that, after having achieved such success at home, Thompson should have deemed it necessary to take up his residence permanently in Italy.