Among the portrait-painters of this period, CHARLES WILSON PEALE (1741--1827) takes the lead by reason of quantity rather than quality. Peale was typical of a certain phase of American character, representing the restlessness and superficiality which prevail upon men to turn lightly from one occupation to another. He was a dentist, a worker in materials of all sorts, an ornithologist and taxidermist, rose to the rank of colonel in the American army, and started a museum of natural history and art in Philadelphia. But his strongest love seems, after all, to have been for the fine arts. Among the fourteen portraits of _Washington_ which Peale painted, according to Tuckerman, is the only _full-length_ ever done of the father of his country: it shows him before the Revolution, attired as an officer in the colonial force of Great Britain. A large number of Peale's portraits may be seen in the Pennsylvania Academy and in Independence Hall, Philadelphia. The New York Historical Society owns, among other works by his hand, a Washington portrait and a group of the Peale family comprising ten figures. Much of Peale's work is crude, but all of his heads have the appearance of being good likenesses. Among a number of other painters of this period we can select only a few, whose names receive an additional lustre from their connection with Washington. JOSEPH WRIGHT (1756--1793) was the son of Patience Wright, who modelled heads in wax at Bordentown, N.J., before the Revolution. While in England he painted a portrait of the Prince of Wales. In the year 1783 Washington sat to him, after having submitted to the preliminary ordeal of a plaster mask. Tuckerman speaks of this portrait as inelegant and unflattering, and characterizes the artist as unideal, but conscientious. Wright's portrait of _John Jay_, at the rooms of the New York Historical Society, authorizes a more favourable judgment. It is, indeed, somewhat austere, but lifelike, well posed, and cool in colour. E. SAVAGE (1761--1817) seems to have been nearly as versatile as Peale, emulating him also in the establishment of a museum, at first in New York, then in Boston. His portrait of _General Washington_, in the Memorial Hall of Harvard University, is carefully painted and bright in colour, but rather lifeless. His _Washington Family_, in the Boston Museum (a place of amusement not to be confounded with the Museum of Fine Arts), which he engraved himself, has similar qualities. A little picture by him, also in the Boston Museum, representing _The Signers of the Declaration of Independence in Carpenters' Hall_, is interesting on account of its subject, but does not possess much artistic merit. The portrait of _Dr. Handy_, on the contrary, which is assigned to him, at the New York Historical Society, is a very creditable work, good in colour, luminous in the flesh, and simple in the modelling.