This sculptor, a native of Edinburgh, where his family, as architects and otherwise, have long been identified with the civic improvements that have gradually made the modern city so conspicuously handsome, is one of the most skilful of our architectural sculptors. He has not the play of fancy nor the graceful facility in decorative forms displayed by Martiny; but, instead, a strong instinct for big simplicity of design, and for the constructional value of the figure as an adjunct to the architecture. When, as in the spandrils for the Smith Memorial Arch at Philadelphia, he is elaborating a part of the structure, he works with as much of the feeling of an architect as of a sculptor, showing an unmistakable appreciation of the material. In the case of these spandrils it is granite, and the treatment of the drapery and wings has been admirably adapted to the quality and character of the material and to the exigencies of cutting. A similar recognition of the claims of the material is displayed in some granite lions, designed for the Ehret mausoleum in Woodlawn Cemetery, and again in the caryatides, executed in pink Tennessee marble for the Macy Building in New York. The latter, moreover, are particularly successful in suggesting their architectural function of carrying a superincumbent weight, rigidity of form and grace of line being fortunately mingled. Among the varied subjects which have occupied this sculptor is an elaborate fountain for “Georgian Court” at Lakewood, New Jersey. The design comprises a male figure, almost nude, standing in a chariot formed of a huge shell, these parts being in bronze, while the sea-horses that he drives and the attendant Nereids are of marble. The composition, enclosed within a circular basin and rising pyramidally toward the centre, is full of spirit, with especial force and freedom of movement in the marble portions. Yet it is probably true that J. Massey Rhind discovers his best qualities as a sculptor [Illustration: RECUMBENT FIGURE By J. Massey Rhind From the Tomb of Father Brown in the Church of Saint Mary-the-Virgin, New York] [Illustration: PUMA By A. Phimister Proctor Prospect Park, Brooklyn] in less exuberant designs. Indeed, his most impressive work, within my knowledge, I should take to be the recumbent portrait-statue of Father Brown in the Church of Saint Mary-the-Virgin in New York. It is very truly monumental, with an exquisite placidity and tender gravity of feeling; the lines of the figure severely simple, the vestments, notwithstanding some elaboration of delicate detail, subordinated so completely to the form, and the latter in its supple fixity expressive of the eternal calm of the head. It is a figure from which emanates a very unusual atmosphere of spirituality.