[379] Dr. Francklin was probably the “Thomas Franklin” who signed the round-robin to Dr. Johnson asking him to re-write Goldsmith’s epitaph in English. Here the absence of the _c_ from the name causes Croker to doubt the identity, and Dr. Birkbeck Hill to reject it. It is curious that Smith, with Garrick’s marriage certificate before him, makes the name agree with the questioned signature in the memorial to Johnson. Francklin knew Johnson and dedicated to him a translation of Lucian. “BOSWELL. I think Dr. Franklin’s definition of _Man_ a good one--A tool-making animal. JOHNSON. But many a man never made a tool; and suppose a man without arms, he could not make a tool.” Francklin founded the _Centinel_, a paper of the _Tatler_ variety, and published many translations. He was the first Chaplain to the Royal Academy, and composed a song, “The Patrons,” that was sung at the inaugural dinner. [380] This certificate does not answer Smith’s inquiry: the place of the marriage. As a matter of fact, Dr. Francklin’s chapel, where the ceremony was performed, was not in Great Queen Street, but in Queen Street, near Russell Street, now Museum Street. The Charity School opposite the side entrance of Mudie’s Library marks the site of the chapel in which the knot was tied between David Garrick and Eva Maria Violetti. The facts are given correctly by a writer in _Notes and Queries_ (March 31, 1877), who puts in the following documents:-- “On the 22nd June, 1749, Garrick was married to Eva Maria Violetti by M. Francklin, at his chapel near Russell Street, Bloomsbury; and afterwards, according to the rites of the Roman Catholic Church, by the Rev. M. Blyth, at the chapel of the Portuguese Embassy in South Audley Street” (Garrick’s _Correspondence_, 1831). “Yesterday was married, by the Rev. Mr. Francklin, at his chapel, Russell Street, Bloomsbury, David Garrick, Esq., to Eva Maria Violetti” (_General Advertiser_, June 23, 1749). [381] No picture in the National Gallery is better known and admired than Rubens’s “Chapeau de Paille.” It is a portrait of Mdlle. Lunden, with whom Rubens was in love. He is said to have painted her portrait without her knowledge while she sat in her garden, and to have obtained her acceptance of the picture. On her untimely death Rubens begged back this portrait, which her family had christened “Le Chapeau de Paille,” promising a replica in exchange. This is the National Gallery picture. In it, instead of a straw hat (chapeau de paille), Rubens has introduced a beaver hat (chapeau de poil), but the original name is still in vogue, though the name “Chapeau de Poil” appears on the frame of the picture in Room xii. of the National Gallery. In 1822 the picture passed from the Lunden family to M. Van Niewenhuysen for 89,000 florins, and from him it was acquired, through Smith the printseller, by the British Government.