Rush was a man of warm imagination and of a lively ideality. These are shown by his figures symbolical of Strength, Wisdom, Beauty, Faith, Hope, and Charity, carved by him for the Masonic Temple; by his figures of “Praise” and “Exaltation,” two cherubim encircled by glory, in St. Paul’s Episcopal Church; and by his “Christ on the Cross,” carved for St. Augustine’s Roman Catholic Church. His best-known work is his whole-length statue of Washington, carved in 1815, from recollection, by the aid of Houdon’s bust, which it closely resembles, now in the old State-house, or Independence Hall, Philadelphia. Another noted work of his, from Miss Vanuxem, a celebrated Quaker City belle, having posed for the model, is the graceful figure of a nymph, with a swan, located upon a rocky perch opposite the wheel-house at Fairmount water-works, Philadelphia. Beside carving in wood, Rush modelled in clay, and his portrait-busts have always been recognized as truthful and satisfactory likenesses. The bust most commonly seen of Lafayette is his work. William Rush died in the city of his birth on the seventeenth day of January, 1833; and considering the era in which he lived and its uncongenial atmosphere, his achievement is most noteworthy and commendable. Twelve days after the birth of Rush, Joseph Wright came into the world, inheriting from his mother her artistic temperament. At sixteen he accompanied the family to England, and received instruction from Benjamin West and from his brother-in-law, Hoppner. He returned to America late in 1782, bringing a letter of commendation from Franklin to Washington. In 1783, he painted a portrait of Washington from life, at Rocky Hill, New Jersey, and the next year was permitted to make a cast of Washington’s face, which is said to have been broken irreparably in removing from the skin,--a story the veracity of which may be akin to that in regard to Browere’s mask of Jefferson, hereafter to be told. However this may be, Wright made a bust of Washington, for which Congress paid him “233⅓ dollars,” and also modelled in wax a laureated profile portrait of Washington, which is of both artistic and historical value. Wright died in Philadelphia, during the yellow fever epidemic of December, 1793, and his bust, by his friend Rush, whom he is said to have instructed in clay modelling, belongs to the Academy of the Fine Arts, at Philadelphia. Patience Wright, her son Joseph, and William Rush are the only native Americans that we know to have worked at the plastic art during the period we have limited for this review; and thus John Frazee, who claimed to be, and therefore is commonly credited with being, the first native American sculptor of American parentage, need not be considered; for he was only two years old when Browere was born, and therefore can have had no part in influencing Browere’s career.