n the Academy of Design.
However that may be, Tassie executed in later days two different
medallions of Smith. Raspe, in his catalogue of Tassie's enamels,
describes one of these in a list of portraits of the largest size that
that kind of work admitted of, as being modelled and cast by Tassie in
his hard white enamel paste so as to resemble a cameo. From this model
J. Jackson, R.A., made a drawing, which was engraved in stipple by C.
Picart, and published in 1811 by Cadell and Davies. Line engravings of
the same model were subsequently made by John Horsburgh and R.C. Bell
for successive editions of the _Wealth of Nations_, and it is
accordingly the best known, as well as probably the best, portrait of
the author of that work. It is a profile bust showing rather handsome
features, full forehead, prominent eyeballs, well curved eyebrows,
slightly aquiline nose, and firm mouth and chin, and it is inscribed,
"Adam Smith in his 64th year, 1787. Tassie F." In this medallion Smith
wears a wig, but Tassie executed another, Mr. J.M. Gray tells us, in
what he called "the antique manner," without the wig, and with neck
and breast bare. "This work," says Mr. Gray, "has the advantage of
showing the rounded form of the head, covered with rather curling hair
and curving upwards from the brow to a point above the large ear,
which is hidden in the other version."[377] It bears the same date as
the former, and it appears never to have been engraved. Raspe mentions
a third medallion of Smith in his catalogue of Tassie's enamels--"a
bust in enamel, being in colour an imitation of chalcedony, engraved
by F. Warner, after a model by J. Tassie,"--but this appears from Mr.
Gray's account to be a reduced version of the first of the two just
mentioned. Kay made two portraits of Smith: the first, done in 1787,
representing him as he walked in the street, and the second, issued in
1790, and occasioned, no doubt, by his death, representing him as he
has entered an office, probably the Custom House. There is a painting
by T. Collopy in the National Museum of Antiquities at Edinburgh,
which is thought to be a portrait of Adam Smith from the circumstance
that the title _Wealth of Nations_ appears on the back of a book on
the table in the picture; but in the teeth of Stewart's very explicit
statement that Smith never sat for his portrait, the inference drawn
from that circumstance cannot but remain very doubtful. All other
likenesses of Smith are found