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ITUAttST’S SUNDAY AMERICAN, ATLANTA, GA., SUNDAY, AUGUST 3, 1913.
FRANK’S BURNING EYES ALONE BETRAY HIS ANXETY
DECLARE LIFE FORFEIT
Study of Man Shows Shrewdness Is
Essential Factor in His Character.
Accused Misses No Word of Evi
dence Spoken During the Hearing.
By TARLETON COLLIER.
Everybody says in his heart that he knows human nature,
that he can read guilt or innocence, sensuality or asceticism, calm
or perturbation in the face of another. Everybody, armed to his
own satisfaction with this power
COURTROOM STUDIES OF LEO FRANK
Three typical poses of the defendant in the famous Phagan case are shown, while in the up
per left of the picture is a study of Luther Rosser, his leading counsel. Here is what a study of
Frank’s face reveals: Ilis face is immovable, except, perhaps, for the eyes. But fixity of coun
tenance docs not always go with unconcern. In this case it is a part of the man’s nature. Im
mobility is the essential part of his physiognomy. It is the immobility of the business maa
given to calculation, of the gambler, of the person given to repression. #
of divination, has gone to the
trial pf Leo Frank to watch the
man who is charged with the
murder of a little girl, the most
brutal and conscienceless of mur
ders.
The young man who Is thus the
center of all eyes si apparently un
conscious of the multiple gaze that
continue all day long. Those who go
to watch him declare a variety of
opinions—that he is calloused or that
he Is conscience-clear, that he scorns'
the outcome of the trial whatever it
may be, or that he Is serene in his In
nocence.
The watchers generally admit, how
ever, that he is unconcerned.
But in the tinding of this verdict
they do not see the eyes of the man
that are always .\ylde stretched and
intent, with brows always slightly
lifted, with a gaze that seems to burn.
Eyes Show His Interest.
Leo Frank unconcerned? A man
twiddles his thumbs', glances aimless
ly here and there. Is lax-muscled, va
cant-eyed. Then he Is unconcerned.
But the wide-eyed stare behind the
thick nose glasses proves Frank verv
much concerned. The quick shifting
of his ga2e from the witness to the
questioner, bark and forth as ques
tion Is asked and answer made,
proves him very much alive to the
proceedings.
To be sure, Frank's face is im
mobile, except, perhaps, for the eyes.
But fixity of countenance doe® not al
ways go with unconcern. In this case
It is a part of the man's nature. Im
mobility is the essential part of his
physiognomy. It Is the Immobility
of the business man given to calcu
lation. of the gambler, of the person
given to repression.
Shrewdness is the essential factor
of Frank’s character. It is the nat
ural conclusion that this should be so.
Here you have a young man. Just 28,
who was the head of a highly capi
talized manufacturing concern, and
Its head because of his own efYons
and achievement.
He Misses Not a Sellable.
\ rewdness, too, i® evident In those
-'open eyes of his. They Rhift
rapidly and constantly, from witness
to lawyer, from lawyer back to an
swering witness. When they settle
upon their object, they are fixed
enough for the moment, and never
furtive. But they linger for no time
here nor there.
One man speak Frank’s eyes fix
him with the w ide stare. Another an
swers or interrupts. The young man's
Love Stake of Mother and Wife
Of Accused in Battle for His Life
Parent of Prisoner Is “Old-Fashioned” and Retiring.
Younger Woman Modern and Aggressive.
When the final verdict is read on
Leo M. Frank, charged with having
murdered Mary Phagan, he will either
be hanged until dead or acquitted.
Learned men of the law have said
that the Jury can not go halfway in
this case.
Therefore, Frank is fighting for his
life.
Curious persons have thronged ths
courtroom dally to see this fight. They
gaze at the prisoner and they shudder
a bit at the thought of the impending
peril In which he stands. Then their
gaze shifts speculatively to the two
women w r ho sit at either side of him.
One of the women is Mrs. Rae
Frank, the mother of the defendant.
She sits at his left, up against the
judge’s bench. The other woman is
Frank’s wife. She sits at his right, a
little behind and near the La Die of the
attorneys for the defense.
Persons who see these two women
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ness. Then Frank’s eyes are most
earnestly expressive. They are up
turned to the figure of his lawyer and
In them there fs something of in
genuous confidence and trust. They
are very wide then. His mouth open*!
, , , . slightly. Altogether there is some-
gaze travels to him. No syllable nor i , , ... ... . ... ,
, . . thing In that gaze like the look a child
Intonation Is missed. All this can be . . .
, i bestows on a person toward whom he
token nothing but a nervous, careful t , , . .
m \ feels something of awe
nature. Nervous In the sense of pos
sessing mental force and high-strung ^' 5 ^ aco Never Change®,
sensibilities; not nervous In the sensu ; Those who way Frank Is uncon-
of nei.roilc affection. Nervousness 1 cerned must surely have seen him
need r ot mean merely timidity.
Fra.ik Is essentially careful
Wit
ness * gain the evidence of the young
man rising to a position of respon
sibility in the business world.
All this is betrayed by the active
eye®. It Is not to be read in the mask
that is Frank’s face, but only In the
eye®.
Frank is not unconcerned. Luther
Rosser is firing questions at the wit-
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NO
Fain
during the moments when his dynam
ic eyes were in repose, moments like
those when the photographers were
aiming their cameras* at him. mo
ments when men are not actively try
ing to break his neck or to save him
In this, however, the watcher® are
correct when they talk about his un
concern—his face never changes, for
so much as the twitch of a muscle, for
minutes and minutes at a time. The
body never shifts in the chair it occu
pies. His eyes move, and in the mov
ing speak, but his face hardly ever
speaks. Leo Frank, if not uncon
cerned, is at least imperturbable.
But sometimes his wife’s hand, rest
ing on the back of his chair and
lightly touching his shoulder, pats his
arm once or twice. It Is a signal from
her. His head goes around and is in
clined. his ear near her mouth. At
her whispered message he turns ev
farther, and for the fleeting part of a
second looks into her eyes. Flip wide
mouth widens farther for the ghost of
a smile.
The whole movement is quick, ner- |
vous and almost abrupt. But he has
smiled.
His wife is as impasrtve as he. She
has none of his nervous make-up.
! and, If anything, to the observer ap-
| pears even more unconcerned than
f does her husband. But the avidity
j with which she seizes upon certain
lines of evidence, bending forward to
whisper In her husband's ear. or
I backward ^o reach one of the attor-
I neys. provQp her Interest. She smiles,
j^too. awsweria* her husband’s smile.
i a I
/
j ive. It <s that of a man too keenly
j bright. It is not that of an affable,
brotherly man. It is not that to al-
• tract other men. But the faces of his
| two best allies, his wife and his moth
er, are as attractive as hi® is unat
tractive. Both bespeak powers of
courage and of fortitude. Mrs. Frank,
the wife, it seems, is capable of en
during the same trials. Frank’s face
is no advantage to him, even with its
serenity*. The face® of his allies will
help him.
Frank is cool, rather than courage
ous. calculating rather than brave,
shrewd rather than daring. All this
the wide, active eyes bespeak.
But even if it were not his nature
to be thus deliberate, he probably
would bear this same appearance of
calm, surrounded as he is by every
pemblance of protection. He is < *c
center of a cordon of friend®. At h.s
left is his mother, and beyond her the
judge’s bench, that embodiment of
safety. Behind him are two of his
lawyers, Stiles Hopkins and Herbert
Haas. At his right, close to his side.
Is hip wife, and beyond her are others
of hi® corps of lawyers. They are all
aggressive, vigorous In his defense,
creating an atmosphere cf security
that surely must bring assurance to
him. Littie wonder he Is calm.
little realize their oTdeal. The same
thought does not occur to the on
looker when viewing them that does
when the eye rests upon the defend
ant.
Love Woman's Greatest Stake.
Yet perhaps to no other—not even
Frank himself—does the outcome of
this trial mean more than It does to
these two women.
To FVank the stake Is life. To his
wife and mother the stake is love, and
history shows that since the world
began, woman has held life as sec
ondary to love. Love Is her greatest
stake.
And when the jury disposes of the
life of Frank, it will also dispose of
the love of hi® wife and mother. The
verdict of the Jury will strike equally
upon both.
O# the two women drawn into this
most strange paradox to civilization,
where a man fights the law for life,
Mrs. Rae Frank is by far the most
unique figure. In every way she is
alien to the modern courtroom.
Sitting beside the slight figure of
her son, Mrs. Frank appears a large
woman. It would not be difficult to
conceive in her the mother of the
defendant, nor would it be a far cry
to picture Frank in his mother’® lap
with his arms about her neck—just a
boy.
Pen Picture of Mother.
Mrs. Frank is past the halfway post
on the path of life. There are gray
threads gleaming in her blagk hair.
Her face i® heavily seamed, though
full, and her body has lost its grace
ful lines. Her clothing also is a bit
old-fashioned. She wears a plain
white shirtwaist of linen and a black
cloth skirt. There Is no trace of fash,
ion’s hands upon them, nor upon the
black straw hat which sit® rather
awkwardly upon her head. Mrs. Frank
is a woman of days that have passed.
Yet the standard which she repre
sents on the battlefield, and for which
she is fighting, is mother love, and
where else than in a criminal court
room could it shine forth stronger?
A second look at Mrs. Frank gauges
correctly the terrible weight which
her presence there beside her son
holds.
Mrs. Frank withstands the ordeal
with a calmness that is admirable.
Never does her attention pass from
the battlefield In front of her, where
the wrangling of the witness and at
torney on the floor goes on inces
santly. Her countenance does not
change as the points are slowly drawn
forth for the jury to judge whether
her son Is a murderer, be they for or
against him.
Her eyes—large ones,—move slowly
and fixedly in a half circle—from wit
ness to questioner, then to her son—
and always her big palm-leaf fan vi
brates back and forth in a manner as
set a® the swing of a pendulum or as
set as the conviction w ritten upon her
face that her son has done no wrong.
Wife a Modern Fighter.
In the wife of the defendant Is dis
played another type of fighter. The
younger woman is modern in every
respect. Her clothing 4s stylishly
built and worn, and she adds to that
certainty of the innocence of her hus
band, a vigorous and understandable
interest in the proceedings. She Is
beautiful, and well molded, her face
full and the whiteness of her skin
accentuated by the raven color of her
hair. She is a woman above medium
stature and shows aggressfveness as
she moves about in her chair, bend
ing forward to, speak to her husband,
leaning to one side to w’hlsper to her
mother-in-law or get a better view
of t*ie witness.
At all times her dark eyes are flash
ing, and when playing in the region
of the table for the prosecution, bear
a marked tinge of disdain. At times
she grows excited as the testimony
goes on, and her arm, always on the
shoulder of the defendant, tightens aa
the cross-examination hinges upon a
perilous point in the case. Then again
she shows silent remonstrance, stiff
ening her body and glaring at the
speaker. Then her temper send® vol
umes from her eyes. The wife shows
vindictiveness at every opening.
Despite the strenuosities of ths
week during which the trial has Just
passed, the two women do not ap
pear fatigued. They are in the court
room from 9 in the morning until 6 In
the afternoon of each day, yet Satur
day they appeared with as much
freshness as on the Monday of the
opening of the case.
The nights they spend at the home
of the defendant on Georgia avenue.
They are seldom at home to anyone.
Their friends realize the situation,
and few call. To members of the
press the women have nothing to say.
They go to the trial room each morn
ing in an automobile and leave In one,
always accompanied by some member
of the defense’s staff.
Deputy Plennie Miner
Makes Fine “Sentry.” •
Deputy Sheriff Plennie Miner, who
decides who gets into the courtroom
where Prank Is being tried, received
the congratulations of every person
connected with the trial Saturday
night for the success with which he
has handled the difficult situation
during its first week.
The courtroom seats 250 persons,
and no one has been permitted to
stand in the aisles. Daily at least
1,000 persons apply for admission. The
overflow is kept out by a score of
deputies stationed at the entrance.
Undaunted by the closed doors, how
ever, the crowd remains throughout
the day, despite the hot sun, each one
waiting his turn to take the places of
those who leave. To the passerby It
looks like the entrance to a picture
show when a good film is on.
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Rut h^rs, like his. i® merely the blink
of a smile.
Mother Never Smiles.
Mrs. Frank, the prisoner’® mother,
never smiles. She sits against Judge
Roan's stand, her face a sad puzzle.
expressive of nothing In regard to
what Is going on around her. but ex
pressive of a great deal 6f under
standing. sympathy and kindness.
Frank’s own face is a small, ner
vous. abnormal face and not attract-
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