The Martin portrait, painted when he was about sixty years old, represents him seated, his elbows resting on a table, and holding a document, which he is reading with deep but composed and serene attention. It was no doubt intended to represent him in a characteristic attitude. As showing the calm philosopher and diplomat reading and thinking, somewhat idealized and yet a more or less true likeness, it is in many respects the best picture we have of him. But we cannot see the eyes, and it does not reveal as much character as we could wish. The Grundmann portrait, an excellent photograph of which hangs in the Philadelphia Library, was painted by a German artist, after a careful study of Franklin’s career and of all the portraits of him which had been painted from life. As an attempt to reproduce his characteristics and idealize them it is a distinct success and very interesting. He is seated in a chair, in his court-dress, with long stockings and knee-breeches, leaning back, his head and shoulders bent forward, while his gaze is downward. He is musing over something, and there is that characteristic shrewd smile on the lower part of the rugged face. It is the smile of a most masterful and cunning intellect; but no one fears it: it seems as harmless as your mother’s. You try to imagine which one of his thousand clever strokes and sayings was passing through his mind that day; and the strong, intensely individualized figure, which resembles that of an old athlete, is wonderfully suggestive of life, experience, and contest. But the Duplessis portrait, which was painted from life in Paris in 1778, when he was seventy-two, reveals more than any of them. The Sumner portrait is Franklin the youth; the Martin and the Grundmann portraits are Franklin the philosopher and statesman; the Duplessis portrait is Franklin the man. [Illustration: THE MARTIN PORTRAIT OF FRANKLIN] Unfortunately, it is impossible to get a good reproduction of the Duplessis portrait, because there is so much detail in it and the coloring and lights and shadows cannot be successfully copied. But any one who will examine the original or any good replicas of it in oil will, I am convinced, see Franklin as he really was. The care in details, the wrinkles, and the color of the skin give us confidence in it as a likeness. The round, strong, but crude form of the boy of twenty has been beaten and changed by time into a hundred qualities and accomplishments, yet the original form is still discernible, and the face looks straight at us: we see the eyes and every line close at hand. In this, the best portrait for studying Franklin’s eye, we see at once that it is the eye of a very sensuous man, and we also see many details which mark the self-made man, the man who never had been and never pretended to be an aristocrat. This is in strong contrast to Washington’s portraits, which all disclose a man distinctly of the upper class and conscious of it.