life Francklin wrote for the press and for the stage. Two of his plays were successful through good acting. He brought out in 1757 a periodical paper of his own composition entitled The Centinel, and he was one of the contributors to Tobias Smollett's Critical Review. Samuel Johnson and Sir Joshua Reynolds were among his friends, and through their influence he became chaplain to the Royal Academy on its foundation, and on Oliver Goldsmith's death in 1774 succeeded to the professorship of ancient history. With other literary men he was unpopular. One of his victims in the Critical Review was Arthur Murphy, who solaced his feelings of indignation in "A Poetical Epistle to Samuel Johnson, A.M." Charles Churchill, in the Rosciad, sneeringly says that 'he sicken'd at all triumphs but his own.' Francklin's most solid works consisted of translations and tragedies. His first was an anonymous rendering of Cicero's treatise, Of the Nature of the Gods; it appeared in 1741, was reissued in 1775, and, after revision by Charles Duke Yonge, formed a part of one of the volumes in Bohn's Classical Library. In 1749 he published The Epistles of Phalaris translated from the Greek; to which are added some select epistles of the most eminent Greek writers. His translation of the tragedies of Sophocles was long considered the best in the English language. It came out in 1759, and was reprinted in 1809 and 1832; large selections from it were included in Ezekiel Sanford's British Poets, vol. l., and it was included in Henry Morley's Universal Library (vol. xliv.), while a separate impression of the Œdipus Tyrannus was made in 1806. His version of The Works of Lucian from the Greek, which was produced in 1780 in two volumes, and appeared in a second edition in 1781. The whole work was dedicated to Richard Rigby, and parts were inscribed to other eminent men. His translation of Lucian's Trips to the Moon formed vol. LXXI of Cassell's National Library, edited by Henry Morley. Francklin's plays are: The Earl of Warwick, which was produced at Drury Lane Theatre on 13 December 1766, and was often represented. On its first appearance Mary Ann Yates created a great impression in the part of Margaret of Anjou, and Sarah Siddons in later years made that character equally successful. The whole play, which is said to have been taken without acknowledgement from the French of