Soon after this satisfactory experiment, Palmer removed to the city of Albany, where he has since remained and won his well-deserved fame. His two allegorical pieces, 'Resignation' and 'Spring,' we cannot forbear to describe, familiar as they are to the _virtuoso_ of art, and well known even to the great public. The latter is a female bust, her hair bound with a fillet of grass and half-developed grain, her face wearing an expression of modest coquetry, quite in keeping with the capricious, 'celestial maid;' while the gently swelling bosom suggests the latent forces of nature which only reach their fulness in the summer sun. And about the eyes there is a look of joy and freshness in which you fancy you can see 'the flowers begin to spring, The skies to brighten, and the birds to sing.' The 'Resignation' represents the refined voluptuousness of riper womanhood. The features are exquisitely cut, and represent a type of beauty fit for angelic spheres. The head, so finely proportioned, and crowned with luxuriant, waving hair, inclines gracefully to one side, as in submission to the chastenings of Providence. But in the downcast, sorrowful eyes, there is an expression of mingled hope and patient endurance such as Mary might have worn at the foot of the cross. The marble is eloquent of that Christian sentiment: 'He doeth all things well.' The religious feeling of the sixteenth century, which gave to art both its inspiration and theme, never found so fair a mould as in this bust of 'Resignation.' Both of these works are entirely free from all explanatory accessories, and interpret themselves to the most sluggish soul. Another of Palmer's compositions, and one of the most purely ideal, is the 'Dream of the Spirit's Flight.' This is a large bas-relief, executed in medallion style. To give any idea by mere words of the spirit of this performance is impossible. It is the half figure of a peri-like girl, with tresses swaying in the higher air, with butterfly wings, arms and drapery gracefully disposed, and all the parts uniting to impress you with a sense of upward, soaring motion! There is a divine beauty about the face reflected from a brighter world. Sculptured in pure white marble, it seems a very soul just escaped from its prison house of clay, and, listening to those 'sounds seraphic,' bearing away to the great Beyond. While gazing on this airy sprite, the beholder feels an exhilarating influence steal over him, and involuntarily there goes up from his heart, like incense, that yearning prayer: 'So grant me, God, from every care, And stain of passion free, Aloft through virtue's purer air To hold my course to Thee!'