Of the details of this ideal creation--its matchless finish, the graceful undulations of the perfect form, the firmness expressed in the clenched fingers, the instinctive shudder gathered on the fair brow, the lofty defiance of the eyes and half-parted lips, the radiant beauty of the face--we can only say they live in our memory, but too deep for words. We believe the truth of the artist's conception, that the revengeful savages acknowledged the divinity of her beauty and Christian reliance, and the 'White Captive' went free--the spirit of civilization triumphed! As a man's character is always more or less associated with his achievements, the reader may wish to learn something of Mr. Palmer as a man. In all kinds of soul-work, there is ever perceptible a certain flavor of the mind which produces it, and the things thus created usually suggest the qualities of the creator. So the works of the sculptor are to some degree the exponents of his character, the expressions of his inner life. Therefore in Mr. Palmer we should expect moral and intellectual worth of a high order, added to the purest and most exalted motives. He is in spirit a reformer, taking an interest in every measure for the improvement of our race, and sympathizing with every struggle of our aspiring manhood. The eccentricities, excuses, and conventional affectations of many real and pretended geniuses he entirely eschews, feeling himself one of the people, and laboring for their elevation. Neither does he deem it any part of genius to neglect his family, forget to pay his butcher's bill, and ignore the claim of his tailor. His ample house and neat atelier, at the north end of Eagle street, in the city of Albany, are the fruit of his patient and inspiring toil--his chisel has won him moderate fortune as well as world-wide fame. Photographs of the 'Palmer Marbles' are seen in the show windows of Paris, London, and Berlin, while in this country they help to fill the portfolios of the _virtuoso_, adorning the walls of the parlor and the private gallery. Though in youth Palmer did not receive an average common-school education, he converses like a man of liberal culture, showing that he belongs to the class of self-made men. He has never visited the interminable art palaces of Europe, nor studied, in the sense in which that term is used, the 'old masters;' still he has appropriated all the valuable hints to be obtained from the classic models, without regarding them as the _ne plus ultra_ of artistic execution, and therefore to be only imitated, to the exclusion of the higher ideals of an advanced civilization.