While Paine and Jefferson were together in Paris (1787) Paine wrote him a note, August 18th, in which he says: "The second part of your letter, concerning taking my picture, I must feel as an honor done to me, not as a favor asked of me--but in this, as in other matters, I am at the disposal of your friendship." As Jefferson does not appear to have possessed such a portrait, the request was probably made through him. I incline to identify this portrait with an extremely interesting one, now in this country, by an unknown artist. It is one of twelve symmetrical portraits of revolutionary leaders,--the others being Marat, Robespierre, Lafayette, Mirabeau, Danton, Brissot, Pétion, Camille Desmoulins, Billaud de Varennes, Gensonné, Clermont Tonnère. These pictures were reproduced in cheap woodcuts and distributed about France during the Revolution. The originals were secured by Col. Lowry, of South Carolina, and brought to Charleston during the Revolution. At the beginning of the civil war they were buried in leaden cases at Williamstown, South Carolina. At the end of the war they were conveyed to Charleston, where they remained, in the possession of a Mrs. Cole, until purchased by their present owner, Mr. Alfred Ames Howlett, of Syracuse, New York. As Mirabeau is included, the series must have been begun at an early phase of the revolutionary agitation. The face of Paine here strongly resembles that in Independence Hall. The picture is about two feet high; the whole figure is given, and is dressed in an elegant statesmanlike fashion, with fine cravat and silk stockings from the knee. The table and room indicate official position, but it is the same room as in nine of the other portraits. It is to be hoped that further light may be obtained concerning these portraits. Well-dressed also, but notably unlike the preceding, is the "Bonneville Paine," one of a celebrated series of two hundred engraved portraits, the publication of which in quarto volumes was begun in Paris in 1796. "F. Bonneville del. et sculpsit" is its whole history. Paine is described in it as "Ex Député à la Convention Nationale," which would mean strictly some time between his expulsion from that assembly in December, 1793, and his recall to it a year later. It could not, however, have been then taken, on account of Paine's imprisonment and illness. It was probably made by F. Bonneville when Paine had gone to reside with Nicolas Bonneville in the spring of 1797. It is an admirable picture in every way, but especially in bringing out the large and expressive eyes. The hair is here free and flowing; the dress identical with that of the portrait by Jarvis in this work.