Three of the heads of River Gods that adorn the arches of Somerset House, designed by Cipriani, were carved by Mr. N. Smith. Many proofs of his genius are recorded in the "Transactions of the Society of Arts." In 1758, for the best model in clay, 5_l._ 5_s._; in 1759, for the best drawing from a plaster cast, 5_l._ 5_s._; and for the first best drawing of animals, 3_l._ 3_s._; in 1760, for the first best model of animals, 9_l._ 9_s._ (this model is in the possession of Viscount Maynard); in 1761, for the first best model, in clay, of the Continence of Scipio, 15_l._ 15_s._ (in the possession of the Marquis of Rockingham); in 1762, for the first best model in clay, 21_l._--the subject, Coriolanus supplicated by his Mother. Mr. N. Smith died in 1811. There is a portrait of him, etched by De Wilde; and a small painting on panel by the same artist, is also preserved. Three portraits of him by Howard are now in the family; as is also a fine portrait of his sister, by Cotes. The friendship between Nollekens and Nath. Smith naturally introduced young Smith, the author of this work, to the notice of that celebrated sculptor. Whilst a boy, his intercourse with Nollekens was frequent, who often took him to walk with him in various parts of London, and seemed to feel a pleasure in pointing out curious remains and alterations of buildings to his notice, as well as shewing him some remarkable vestiges of former times. Perhaps these communications gave the first impetus to that love for metropolitan antiquities which he continued unabated through life. Upon the death of his mother in 1779, young Smith was invited into the studio of Mr. Nollekens, who had seen and approved of some of his attempts in wax-modelling. At that time Nathaniel Smith was Nollekens's principal assistant; and there his son was employed in making drawings from his models of monuments, assisting in casting, and finally, though with little talent, in carving. Whilst with Nollekens, young Smith often stood to him as a model, but left him after three years. He then became a student in the Royal Academy, and was celebrated for his pen and ink imitations of Rembrandt and Ostade's etchings; he copied several of the small pictures of Gainsborough, by whom he was kindly noticed. He afterwards was placed by his honoured friend Dr. Hinchliffe, then Bishop of Peterborough, as a pupil to John Keyse Sherwin, the celebrated engraver; but appears for a time to have given up the burin for the pencil, and was for many years a drawing master, and at one time resided at Edmonton. At the early age of 22 he married "the girl of his heart," Miss Anne Maria Pickett (of the respectable family of Keighley, at Streatham, in Surrey), who, after a union of 45 years, was left his widow.