Smith never sat for his picture, but nevertheless we possess excellent portraits of him by two very talented artists who had many opportunities of seeing and sketching him.  Tassie was a student at Foulis’s Academy of Design in Glasgow College when Smith was there, and he may possibly even then have occasionally modelled the distinguished Professor, for we hear of models of Smith being in all the booksellers’ windows in Glasgow at that time, and these models would, for a certainty, have been made in 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 founded on those