POWERS' GREEK SLAVE.—This already famous work of art arrived in this city a few days since, preparatory to a course of exhibition throughout the country. It is just placed on its pedestal in the exhibition room of the American Academy of Design on Broadway, and I have spent an hour in dwelling upon its great beauty of design, its perfect symmetry of form and proportion, and exquisite finish. It will be open for the general inspection of editors and artists to-morrow, and the next day it will be exhibited to the public. High expectations have been raised with regard to this achievement of art by the publications that have preceded it; but, high as those expectations are, I think they will not be disappointed. I shall not attempt any artistical criticism upon it, for which I have no disposition, and perhaps no ability; but in my plain way give a very brief description of it, with a word or two about the artist and the object of this exhibition.

  It appears to me difficult to imagine a more beautiful and faultless representation of the "human form divine." But for the chain which binds her wrists the figure might be taken for an Eve, right from the hand of its Creator. She is standing in an easy attitude, resting principally on the left limb, with the right slightly bent, her head turned toward the left shoulder, her right hand resting upon a small pillar, around which is folded embroidered drapery of most exquisite workmanship. So perfect is the form, and so delicate the finish, you forget you are looking at cold and lifeless marble, and yet such a sentiment of purity and innocence is stamped upon it that you lose the impression that it is nude. It is less a mortal than a spiritual body. But I am not going to undertake to describe it.