Appears in exhibition catalog as entry no. 2 and 3
Of these busts, Henry T. Tuckerman, Esq., writes: "Rife, the one with womanly, the other with maiden traits. There is superinduced upon, or rather interfused with these, in the first instance, an expression of subdued happiness, divine trust, and latent hope--which is the Christian idea of resignation--a holy conciousness that all is well, a spiritual insight which charms the heart, that we yet can see has bowed to sorrow; and this feeling kindles features in themselves so pure and lovely, yet so human and feminine, that consumate beauty seems to overflow with the sentiment of the patriarch--'It is good for me that I have been afflicted.' . . . 'Spring,' on the other hand, is the sweetest type of maidenhood; the gentle swell of the childlike bosom, the delicate, fresh lips parted, as if about to utter some accent of love and promise, the girlish head rounded with a grace, half of sprightliness, and half of expanding nature, and the wreath of grass, not ripe and full, but at the moment when the blade is about to merge into a head--all this embodies the language of that mysterious and enchanting season when the embryo forces of earth and air stir with the bursting life of rejuvenated elements." [P. 7; entry includes a 2-page unsigned poem entitled "To Palmer's Bust of Spring."]
Catalogue of the Palmer Marbles, at the Hall Belonging to the Church of the Divine Unity, 548 Broadway, New York, November, 1856. Albany: J. Munsell, 78 State Street. 1856.