6th public exhibition of the Greek Slave: August 1848

          While the Greek Slave had still been on display in Baltimore back in April, Powers sent a second model of the statue to be stored in New York. After James Robb took the orginal statue in Philadelphia, Miner Kellogg, as the tour manager, retrieved the second from New York and sent it for exhibition in Boston's Horticultural Hall (Wunder 230). In reference to the statue's classical Greek stylistic influence, James S. Amory praised Powers's work: "My feeling was that your work was faultless—happy in the purity of the marble, happier for [sic] in the work its conception and execution...It is certainly inferior in the sentiment of the Greek works and should be. They embodied their deities—you chiselled a perfect specimen of natural beauty and this I deem to be high praise" (qtd. Wunder 230).

11th public exhibition of the Greek Slave: July through August 1849

          As in New Orleans, the Greek Slave was here exhibited alongside Fisher Boy, Proserpine, and Jackson. Kellogg preemptively attached a fig leaf to Fisher Boy in the hopes of avoiding criticisms of the statue's nudity, though few if any of the reviews addressed perceived indecency. The Evening Gazette summarizes the general consensus: "the Greek Slave, with all its beauties, is in some respects decidedly deficient. The hands are very stiff, inelegant and badly designed.—Another fault, still more apparent in the Fisher Boy, is the want of sufficient bone and muscle to support the beautiful rotundity of flesh...Yet, with all these blemishes, Powers' works partake more of the spirit and ideal truth of the Greeks, than the productions of any other man, and are such true readings out of nature that they will be admired and studied when other works of more pretention, with all their would-be poetic imagination shall be unnoticed or forgotten" (qtd. Wunder 239).