,illustration3 ,,henry ,,fuseli ,e,s,qre ,engraved by ,deane from a ,painting by ,harlow ,london1 ,published by ,henry ,colburn ,richard ,bentley1 #ahcj4 ,,the ,,life ,,and ,,writings ,,of ,,henry ,,fuseli1 ,esq4 ,m4,a4 ,r4,a4 ,,keeper1 ,,and ,,professor ,,of ,,painting ,,to ,,the ,,royal ,,academy ,,in ,,london2 ,,member ,,of ,,the ,,first ,,class ,,of ,,the ,,academy ,,of ,,st4 ,,luke ,,at ,,rome4 ,,the ,,former ,,written1 ,,and ,,the ,,latter ,,edited ,,by ,,john ,,knowles1 ,f4,r4,s4 ,,corresponding ,,member ,,of ,,the ,,philosophical ,,society ,,at ,,rotterdam1 ,,his ,,executor4 ,animo vidit1 ingenio complexus est1 eloquenti illuminavit4 ,velleius ,paterculus in ,ciceronem4 ,,in ,,three ,,volumes4 ,,vol4 ,i4 ,,london3 ,,henry ,,colburn ,,and ,,richard ,,bentley1 ,,new ,,burlington ,,street4 ,,mdcccxxxi4 ,,london3 ,,printed ,,by ,,samuel ,,bentley1 ,dorset-street1 ,fleet-street4 ,,to ,,the ,,right ,,honorable ,,susan1 ,,countess ,,dowager ,,of ,,guilford1 ,,baroness ,,north ,,and ,,guilford4 ,,madam1 ,i feel a degree of diffidence in dedicating to your ,ladyship the ,life and ,posthumous ,works of ,henry ,fuseli2 because1 with regard to the former1 no one is better acquainted with the extent of his talents1 or can form a more accurate opinion of the powers of his conversation1 and the excellent qualities of his head and heart1 than yourself4 ,in giving some account of his life and pursuits1 ,i have endeavoured to speak of him as he was1 and to become his honest chronicler4 ,how far ,i have succeeded1 it is for your ,ladyship to form a judgment4 ,had it ever occurred to me1 during his lifetime1 that it would be my lot to become his ,biographer1 ,i should have kept a ,journal1 and thus have been enabled to present to you1 and to the world1 a more copious and rich view of his colloquial powers4 ,but as this is not the case1 if the ,memoir bring to your remembrance the general power of his genius1 or give an adumbration of his professional merit2 if it convey impressions of his profound classical attainments and critical knowledge1 and recall with them the simplicity of his domestic habits1 my end is fully answered4 ,it is not for me to make an apology for sending to the public1 under the high support of your ,ladyship's name1 the posthumous works of my friend2 as these1 ,i know1 will be acceptable to you2 and many of them have already received the highest encomiums1 when delivered as ,lectures before the ,members of the ,royal ,academy of ,arts4 ,i am fully certain that if the mind which dictated these works1 could now be conscious of the fact1 no circumstance would give to it greater satisfaction1 than the knowledge of their appearing under the sanction of your patronage4 ,i have the honour to subscribe myself1 ,madam1 ,your ,ladyship's most obedient1 ,and obliged humble servant1 ,,john ,,knowles4 #d1 ,osnaburgh ,street1 ,regent's ,park1 #bdth ,march1 #ahcj4 ,,advertisement4 ,in offering to the public the ,life and a complete edition of the literary ,works of ,henry ,fuseli1 ,i feel myself called upon to state the sources whence the former has been drawn4 ,the daily intercourse and sincere friendship which subsisted for many years between this great artist and myself1 afforded me the opportunity of witnessing his domestic habits1 hearing many of the incidents of his life1 and watching his career as an artist2 and1 being executor to his will1 his professional as well as private papers came into my possession4 ,independently of these advantages1 ,i have been in correspondence with the nearest branches of his family1 7at ,zurich1 in ,switzerland17 and from their kindness have obtained many particulars of his early life1 together with the correction of some previously inaccurate dates4 ,whatever estimate1 therefore1 may be formed of my work1 as a literary production1 the particulars have been gathered from the most authentic and unquestionable sources4 ,with respect to his works1 it may be necessary to state that the first ,six ,lectures were published in a quarto volume under ,mr4 ,fuseli's own superintendence1 and were printed in a more extended form than that in which they were delivered2 additional observations having been inserted for the press1 and notes added to indicate the authorities whence his opinions were derived4 ,they are now reprinted from a copy in my possession1 in which are noted some corrections by the author4 ,the remaining ,six ,lectures are published from the manuscripts in his own hand-writing1 without any addition1 omission1 or alteration4 ,the ,aphorisms were collated1 and re-copied fairly some years before the death of the author3 these are printed verbatim as he intended they should come before the public4 ,the ,history of the ,italian ,schools of ,art will be found to contain the professional lives of ,michael ,angelo1 ,raffaelle1 ,titian1 ,correggio1 and other great masters1 with the author's criticisms on their works4 ,most of the observations on ,art were made by ,fuseli while in ,italy and ,france1 after a close inspection of the frescoes1 pictures1 or works in sculpture1 which he describes or criticises2 and the particulars of the lives of the artists were deduced from a careful perusal and comparison of the most elaborate and esteemed works in which they have been recorded4 ,the reader will notice1 that1 in a few instances1 the same notions and expressions are repeated2 a circumstance which occasioned from an eminent artist1 7the late ,sir ,thomas ,lawrence17 for whose opinion and talents ,i had great respect1 a recommendation to use the pruning-knife4 ,but it appeared to me1 after due consideration1 to be preferable that ,i should print the manuscripts as they came into my hands2 for to have omitted these passages might have disturbed the connexion of the reasoning and rendered the author's ideas less apparent to the reader2 ,i therefore present his works to the world without any omission1 alteration1 or addition on my part4 ,john ,knowles4 ,,contents ,,of ,,the ,,first ,,volume4 ,,chapter ,i4 ,fuseli's birth and family4--,passion for drawing manifested in his childhood4--,his destination for the ,church4--,singular cause of ambidexterity4--,fuseli's early fondness for entomology4--,he enters the ,collegium ,carolinum at ,zurich4--,his associates there3 ,lavater1 ,usteri1 ,tomman1 ,jacob and ,felix ,hess4--,professors ,bodmer and ,breitinger4--,his partiality for ,shakspeare1 c4--,his turn for satire called forth at the ,college4--,he courts the ,poetic ,muse4--,enters into holy orders at the same time with ,lavater4--,state of ,pulpit oratory in ,zurich4--,fuseli and ,lavater become champions of the public cause against a magistrate of ,zurich4--,quits ,zurich ,page #a ,,chapter ,,ii4 ,the friends are accompanied in their journey by ,professor ,sulzer4--,they visit ,augsburgh and ,leipsic4--,arrive at ,berlin4--,fuseli furnishes some designs for ,bodmer's work4--,baron ,arnheim4--,fuseli visits ,barth1 in ,pomerania1 where he pursues his studies for six months under ,professor ,spalding4--,motives which induce him to visit ,england1 where he arrives in #agfc1 under the protection of ,sir ,andrew ,mitchell4--,lord ,scarsdale3 ,mr4 ,coutts3 ,mr4 ,andrew ,millar3 ,mr4 ,joseph ,johnson4--,fuseli receives engagements from the booksellers4--,his first residence in ,london3 becomes acquainted with ,smollet3 ,falconer3 ,a4 ,kauffman3 ,mrs4 ,lloyd3 ,mr4 ,cadell3 ,garrick4--,fuseli accepts1 and shortly after relinquishes the charge of travelling tutor to the son of ,earl ,waldegrave4--,his first interview with ,sir ,joshua ,reynolds4--,his earliest production in oil painting4--,he visits ,liverpool4--,takes part in ,rousseau's quarrel with ,hume and ,voltaire1 7#agfg7 and exerts his pen in the cause of his countryman #bb ,,chapter ,,iii4 ,fuseli leaves ,england for ,italy in the society of ,dr4 ,armstrong4--,they quarrel1 and separate at ,genoa4--,fuseli arrives at ,rome 7#aggj74--;,his principle of study there4--,he suffers through a fever1 and repairs to ,venice for his health4--,visits ,naples4--,quits ,rome 7#aggh7 for ,switzerland4--,letter to ,mr4 ,northcote4--,fuseli renews his classical studies4--,visits his family at ,zurich4--,engages in an unsuccessful love-affair4--,arrives again in ,london #df ,,chapter ,,iv4 ,fuseli settles in ,london4--,interview with ,mr4 ,coutts4--,reconciliation with ,dr4 ,armstrong4--,professor ,bonnycastle4--,society at ,mr4 ,lock's4--,mr4 ,james ,carrick ,moore and ,admiral ,sir ,graham ,moore4--,sir ,joshua ,reynolds4--,mr4 ,west4--,anecdote of ,fuseli and ,west4--,the popular picture of ,the ,nightmare4--,death of ,fuseli's ,father4--,visit to ,mr4 ,roscoe at ,liverpool4--,fuseli's singular engagement to revise ,cowper's ,iliad4--,three ,letters from ,mr4 ,cowper4--,anecdotes of ,fuseli and ,dr4 ,geddes #eg ,,chapter ,v4 ,subjects painted by ,fuseli for ,boydell's ,shakspeare ,gallery4--,his assistance towards the splendid ,edition of ,lavater's ,physiognomy4--,his picture for ,macklin's ,poets' ,gallery4--,his contributions to the ,analytical ,review4--,his critique on ,cowper's ,homer #gg ,,chapter ,,vi4 ,fuseli's proficiency in ,italian ,history1 ,literature1 and the ,fine ,arts1 exemplified in his ,criticism on ,roscoe's ,lorenzo de' ,medici #aaj ,,chapter ,,vii4 ,fuseli's ,marriage4--,his inducements to associate himself with the ,royal ,academy4--,he translates ,lavater's ,aphorisms on ,man4--,remarks on his own ,aphorisms on ,art4--,particulars of ,fuseli's acquaintance with ,mrs4 ,wollstonecraft #aeh ,,chapter ,,viii4 ,fuseli undertakes the ,illustration of ,cowper's ,edition of ,milton4--,first notion of the ,milton ,gallery hence suggested4--,letter to ,mr4 ,roscoe from ,fuseli and ,mr4 ,johnson4--,circumstances attending ,fuseli's ,election as a ,royal ,academician4--,sir ,joshua ,reynolds's temporary secession connected with that event4--,fuseli's progress in the pictures for the ,milton ,gallery4--,controversy between ,fuseli and the ,rev4 ,mr4 ,bromley4--,subjects painted for ,woodmason's ,illustrations of ,shakspeare4--,subscription towards the completion of the ,milton ,gallery4--,letter from ,mr4 ,roscoe4--,fuseli contributes to ,seward's ,anecdotes4--,his ,visit to ,windsor with ,opie and ,bonnycastle4--,anecdotes connected with that ,visit4--,letter from ,mr4 ,roscoe4--,mr4 ,johnson's ,imprisonment1 and ,fuseli's adherence to him4--,anecdote of ,lord ,erskine4--,exhibition of the ,milton ,gallery1 and ,list of the ,works composing it1 with incidental ,comments1 c4--,letter to ,fuseli from his brother ,rodolph4--,letter from ,fuseli to ,mr4 ,lock #aga ,,chapter ,,ix4 ,fuseli's ,lectures at the ,royal ,academy4--,letters respecting them from ,mr4 ,farington4--,letter from ,sir ,henry ,englefield1 on the subject of the ancient ,vases4--,death of ,fuseli's friend ,lavater4--,fuseli's ,visit to ,paris in #ahjb4--;,his ,letter from thence to ,mr4 ,james ,moore4--,his acquaintance with the ,french ,painters ,david and ,gerard4--,results of his ,visit4--,letter from ,mr4 ,roscoe4--,fuseli's ,remarks on some of the ,paintings in the ,louvre4--,letter from ,mr4 ,smirke4--,fuseli elected ,keeper of the ,royal ,academy4--,incidental ,anecdote4--,letter to ,mr4 ,joseph ,johnson #bci ,,chapter ,x4 ,the ,biographer's ,introduction to ,fuseli4--,new ,edition of ,pilkington's ,dictionary of ,painters1 superintended by ,fuseli4--,establishment of the ,british ,institution1 and ,fuseli's limited ,contributions to the ,exhibition there4--,subject from ,dante4--,fuseli's ,remarks on ,blake's ,designs4--,his ,lectures on ,painting renewed4--,tribute of esteem from the ,students of the ,academy4--,letter4--,death of ,mr4 ,johnson1 and ,fuseli's sympathy on the occasion4--,fuseli re-elected to the ,professorship of ,painting at the ,royal ,academy #bhg ,,chapter ,,xi4 ,fuseli's prefatory ,address to his resumed ,lectures4--,his second ,edition of ,pilkington4--,he suffers from a nervous fever1 and visits ,hastings in company with the ,biographer4--,his ,picture of ,marcus ,curius1 and ,letter relative to it4--,letter from ,mr4 ,roscoe4--,canova's ,intercourse with ,fuseli4--,anecdotes of ,fuseli and ,harlow4--,letters from ,fuseli to the ,biographer4--,republication of his ,lectures1 with additions4--,death of ,professor ,bonnycastle1 and ,anecdote concerning him4--,death of ,fuseli's friend and patron ,mr4 ,coutts4--,an agreeable party at ,fuseli's house #cjd ,,chapter ,,xii4 ,decline of ,fuseli's ,health4--,letter from ,mr4 ,james ,c4 ,moore4--,fuseli's ,bust by ,baily1 and ,portrait by ,sir ,thomas ,lawrence4--,his last ,academical ,lectures4--,particulars of his ,illness and ,death4--,proceedings relative to his interment1 with an account of the ceremony--,copy of his ,will #cbi ,,chapter ,,xiii4 ,fuseli's personal appearance and habits4--,existing ,memorials of him in ,pictures and ,busts4--,his method of dividing his time4--,anecdotes exemplifying his irritability4--,his attainments in classical and in modern ,languages4--,instances of his ,powers of ,memory4--,his intimate knowledge of ,english ,poetry and ,literature4--,his admiration of ,dante4--,his ,passion for ,entomology4--,his opinions of some contemporary ,artists4--,his conversational powers1 and ,anecdotes4--,his deficient acquaintance with the pure ,physical ,sciences #cej ,,chapter ,,xiv4 ,fuseli's inherent shyness of disposition4--,his opinion of various noted individuals1 viz4 ,dr4 ,johnson1 ,sterne1 ,sir ,joshua ,reynolds1 ,gibbon1 ,horne ,tooke1 and ,thomas ,paine4--,his cultivation of ,english notions and habits4--,his attachment to civil and religious ,liberty4--,his intimacy with theatrical matters4--,his adventure at a ,masquerade4--,his powers as a ,critic1 both in ,literature and ,art1 with various illustrative examples4--,his impressions of ,religion4--,one of his ,letters on ,literature #cga ,,chapter ,,xv4 ,character of ,fuseli as an ,artist4--,his early style4--,his ardent pursuit of excellence in design4--,his neglect of mechanical means1 particularly as regards ,colours4--,his professional independence1 unmixed with obstinacy4--,his pre-eminent faculty of invention1 and success in the portraiture of the ideal4--,his deficiencies as to correctness1 and disinclination to laborious finish4--,causes of his limited popularity as a ,painter4--,his felicity in ,likenesses4--,his colour and chiar-oscuro4--,his quality as a ,teacher of the ,fine ,arts4--,his ardent love of ,art4--,arrangements as to the disposal of his ,works1 c4--,list of his ,subjects exhibited at the ,royal ,academy from #aggd to #ahbe #cie ,,appendix4 ,on the character of ,fuseli as an ,artist1 by ,w4 ,y4 ,ottley1 ,esq4--,verses to ,fuseli on his series of ,pictures from the ,poetical ,works of ,milton1 by ,w4 ,roscoe1 ,esq4--,ode to ,fuseli on seeing ,engravings from his ,designs1 by ,h4 ,k4 ,white1 ,esq4--,a ,vision1--verses in which ,fuseli's principal productions are briefly noticed #dai ,,the ,,life ,,of ,,henry ,,fuseli1 ,m4,a4 ,r4,a4 ,,chapter ,i4 ,fuseli's birth and family4--,passion for drawing manifested in his childhood4--,his destination for the ,church4--,singular cause of ambidexterity4--,fuseli's early fondness for entomology4--,he enters the ,collegium ,carolinum at ,zurich4--,his associates there3 ,lavater1 ,usteri1 ,tomman1 ,jacob and ,felix ,hess4--,professors ,bodmer and ,breitinger4--,his partiality for ,shakspeare1 c4--,his turn for satire called forth at the ,college4--,he courts the poetic ,muse4--,enters into holy orders at the same time with ,lavater4--,state of pulpit oratory in ,zurich4--,fuseli and ,lavater become champions of the public cause against a magistrate of ,zurich4--,quits ,zurich4 ,as there is a natural wish in mankind to be made acquainted with the history of those men who have distinguished themselves by any extraordinary exertion of talent1 so we always experience regret when we look to the biography of a celebrated man1 if we find the details scanty1 or the particulars respecting him resting for their accuracy upon the uncertainty of oral communication1 made after a lapse of several years4 ,although the mind of an author may1 at a remote period1 be appreciated by a perusal of his works1 and the capacity and talents of an artist be judged of by the powers of invention which he has displayed1--by the harmony of his colour and the style and correctness of his lines2 yet these do not completely satisfy2 we wish the more to see him in his closet1 to pursue him into familiar life1 and to be made acquainted with the paths which he trod and the mode of study which he adopted to arrive at eminence4 ,who does not feel this impulse when he peruses the meagre accounts we have received of ,shakspeare or ,correggio8 although the utmost efforts of industry have been employed to collect facts relating to these extraordinary men4 ,it is with such feelings that ,i attempt to give some particulars of the life and professional career of ,henry ,fuseli1 while they are fresh on the memory2 for if the biography of any particular man be not written during his lifetime1 or shortly after his decease1 we recollect perhaps only a few circumstances1 and fill up the record by guessing at the rest4 ,many of the incidents which ,i am about to relate respecting ,mr4 ,fuseli were communicated by himself2 for ,i had the happiness of enjoying his friendship uninterruptedly for twenty years1 and was almost in the daily habit of seeing and conversing with him until the last period of his existence4 ,other particulars ,i have collected from some of his relations and friends1 and gleaned much from his private papers1 which fell into my possession1 as executor to his will4 ,the facts may therefore be relied upon1 and they will1 at least1 assist some future biographer3 for ,i feel the difficulties under which ,i must unavoidably labour1 in attempting to display the powers of a highly gifted man1 and an eminent professor in an art which requires the study of years1 nay of a whole life1 to understand in any competent degree4 ,henry ,fessli 7for such is the family name71 the second son of ,john ,caspar ,fessli1 was born on the #gth ,february1 #agda1 ,n4,s4 at ,zurich1 in ,switzerland1 which city had been the native place of his family for many generations4 ,his father1 ,john ,caspar1 a painter of portraits and sometimes of landscapes1 was distinguished for his literary attainments2 when young1 he had travelled into ,germany1 and became a pupil of ,kupetzky1 the most celebrated portrait painter of his time4 ,he then resided for some time at ,rastadt1 as portrait painter to that court2 and afterwards went to ,ludswigsbourg1 with letters of recommendation to the ,prince of ,wirtemberg1 and was particularly patronized by him4 ,in the war of #agcc1 a ,french army having entered ,germany1 threw every thing there into confusion1 on which ,fessli withdrew from the scene of military operations1 to ,nuremberg1 and remained in that city for six months1 in expectation of a termination of hostilities2 but hearing of the fall of his patron1 the ,prince of ,wirtemberg1 in the field of battle1 he returned to ,zurich1 and settled in ,switzerland for life4 ,shortly after his return to his native city1 he married ,elizabeth ,waser1 an excellent woman1 but of retired habits1 who confined her attention to the care of her house and family1 and to the perusal of religious books4 ,by this marriage he had eighteen children1 three of whom only arrived at the age of manhood2--,rodolph1 who followed his father's profession as a painter1 and afterwards1 settling at ,vienna1 became librarian to the ,emperor of ,germany2 ,henry1 the subject of this ,memoir2 and ,caspar1 well known for his able and discriminative works on entomology4 ,although ,john ,caspar ,fessli1 the father1 had travelled much1 and was not unacquainted with the manners of courts1 and could practise1 when he thought proper1 those of a courtier1 yet he had assumed the carriage of an independent man of the world1 and acquired an abrupt and blunt manner of speaking4 ,yet1 as he was endowed with learning and possessed of talents1 his house was frequented by men the most eminent in literature and in the arts1 in ,zurich and its neighbourhood4 ,he was also an author1 and1 among other works1 published the ,lives of the ,helvetic ,painters1 in which he received considerable assistance1 both in its arrangement and style1 from his son ,henry4 ,this he was enabled to do1 notwithstanding1 to use his own words1 in boyhood1 when the mind first becomes capable of receiving the rudiments of knowledge1 he had not the advantage of the amalgamating tuition of a public school4#a ,henry ,fuseli not only profited in his early years by the instruction of his parents1 but also by the society which his father kept2 indeed1 he may be said to have been rocked in his cradle by the ,muses1--for ,solomon ,gessner was his godfather4 ,this poet and painter was the intimate friend of the elder ,fuseli1 and addressed to him an elaborate letter on landscape-painting1 which is published in his works4 ,but it was to his mother that ,henry considered himself chiefly indebted for the rudiments of his education3 she1 it appears1 was a woman of superior talents1 and possessed1 in a high degree1 the affection and gratitude of her children4 ,even in the latter days of his life1 when ,fuseli has spoken of his mother1 ,i have seen tears start into his eyes4 ,henry ,fuseli showed1 very early1 a predilection for drawing1 and also for entomology2 but the former was checked by his father1 who knowing1 from his own pursuits1 the difficulty of arriving at any eminence in the fine arts1 except a man's whole mind and attention be given to them2 and having designed his son ,henry for the clerical profession1 under the expectation of advantageous preferment for him in the church1 he considered that any pursuit requiring more than ordinary attention would draw his mind from those studies which appertain to theology1 and thus be injurious to his future prospects4 ,perhaps1 too1 his dislike to his son's being an artist may also have arisen from the notion1 that he would never excel in the mechanical part of painting2 for1 in youth1 he had so great an awkwardness of hands1 that his parents would not permit him to touch any thing liable to be broken or injured4 ,his father has often exclaimed1 when such things were shown to his visitors1 ,take care of that boy1 for he destroys or spoils whatever he touches4 ,although the love which ,fuseli had for the fine arts might be checked1 yet it was not to be diverted altogether2 this pursuit1 which was denied him by parental authority1 was secretly indulged1--for he bought with his small allowance of pocket-money1 candles1 pencils1 paper1 c41 in order to make drawings when his parents believed him to be in bed4 ,these he sold to his companions2 the produce of which enabled him either to purchase materials for the execution of other drawings1 or to add articles to his wardrobe1 such as his parents might withhold1 from prudential motives4 ,many of his early sketches are still preserved1 one of which is now in my possession1--,orestes pursued by the ,furies4 ,the subjects which he chose were either terrific or ludicrous scenes3 in both these1 he at all periods of life excelled3 although his early works are incorrect in point of drawing1 yet they generally tell the story which they intend to represent1 with a wonderful felicity1 particularly when it is considered that several of them proceeded from the mind of a mere child1 scarcely eleven years of age4 ,the work which most engrossed ,fuseli's juvenile attention was ,tobias ,stimmer's field-sports3 these subjects he copied diligently1 either with a pen or in ,indian ink1 as well as the sketches of ,christopher ,maurer1 ,gotthard ,ringgli1 ,jobst ,ammann1 and other masters of ,zurich4 ,these artists1 it must be acknowledged1 possessed great powers of invention1 and had a firm and bold outline1 yet their figures are not to be commended for proportions or elegance1 and the mannerism of their works was a dangerous example for a student to follow4 ,it is not surprising1 therefore1 that we find an imitation of their faults in the early drawings of ,fuseli2 in which short and clumsy figures are generally draped in the old ,swiss costume4 ,although the father seldom or ever attended public worship1 yet he was not ignorant of the principles of religion1 and knew what would be expected from his son when he entered upon the clerical profession3 in order1 therefore1 to initiate him in the doctrines which he intended he should teach1 he employed a clergyman to assist him in these as well as to instruct him in the classics4 ,from this gentleman he borrowed the most esteemed religious books1 which it was his practice1 in the evenings1 to read aloud to ,henry4 ,but while the father was reading the paraphrases of ,doddridge1 or the sermons of ,gtz or ,saurin1 the son was not unfrequently employed in making drawings2 and the better to escape observation1 he used his left hand for that purpose4 ,this practice made him ambidextrous during his life4 ,the tutor soon perceived the bent of his pupil's inclination1 who1 instead of making his themes1 or attending to other studies1 was caricaturing those about him2 and he told his father that1 although he had an uncommon capacity for whatever he undertook with ardour1 yet he was so wayward in his disposition1 and so bent upon drawing1 that it was doubtful whether he would ever become a scholar4 ,the health of ,mrs4 ,fessli being in a very delicate state1 the family removed a few miles from the city1 for the benefit of the air4 ,henry was at this time about twelve years of age4 ,a residence in the country opened to his active mind a new field for contemplation1 in the study of nature2 and he now found great delight in what he had before in a degree pursued1--entomology4 ,this study his father allowed him to prosecute1 as he considered that the attempt to gain a knowledge of a science ,which looks through ,nature up to ,nature's ,god1 would be advantageous to his future walk in life2 he therefore indulged his wish1 encouraged him to proceed1 and furnished him with books by which he could get information respecting the genera of insects1 and their habits4#b ,and in the pursuit of entomology he was usually accompanied by his younger brother1 ,caspar1 who has written so ably upon this science2 and ,i have often heard ,henry enlarge1 in glowing terms1 upon the pleasurable sensations which he experienced1 when a boy1 from the freshness of the air1 at the dawn of day1 when he had been creeping through hedge-rows in search of the larv of insects1 or in pursuit of the disturbed and escaping moth or butterfly4 ,after a residence of two or three years in the country1 ,henry had arrived at that age when he required and was likely to profit by more profound instructions than he had hitherto received2 with the view of affording these1 his family resumed their residence at ,zurich1 and he was placed as a student in the ,collegium ,carolinum1 in which he was matriculated1 and finally took the degree of ,master of ,arts4 ,the secluded life which ,fuseli's parents led1 particularly while they resided in the country1 had confined his juvenile acquaintances to a ,m4 ,nscheler1#c and to those youths who received occasional instructions from his father in painting4 ,a college was therefore a new and imposing scene4 ,although he was then a novice in society1 and had from nature a degree of shyness1 which was increased by seclusion2 yet his acute and discerning mind soon discovered those students who possessed the greatest talents1 and with whom he could therefore with the more pleasure associate4 ,accordingly1 he formed an acquaintance1 which ripened into lasting friendship1 with ,lavater1 ,usteri1 ,tomman1 ,jacob1 and ,felix ,hess2 names well known in ,german literature4 ,at this time1 the celebrated ,bodmer and ,breitinger were professors in the ,caroline ,college2 they were the intimate friends of the elder ,fessli1 7who has transmitted their likenesses to posterity17 and in consequence of this intimacy1 they paid more than ordinary attention to the young student4 ,these learned men were1 in addition to their other studies1 actively engaged in reforming the ,german language1 and in this respect correcting the taste of their countrymen1 and they constantly urged their pupils to pursue the same course2 for at this period a pure and elegant style was very rare1 and therefore considered no mean acquirement4 ,a naturally strong constitution1 with considerable elasticity of mind1 enabled ,fuseli to pursue his studies for many hours in each day without interruption4 ,in fact1 he was capable of any mental labour1 however severe4 ,he attended diligently the usual routine of college studies1 and being possessed of a very retentive memory1 these were attained or performed without difficulty4 ,he therefore found time to gain a considerable knowledge of the ,english1 ,french1 and ,italian languages4 ,he was attracted to these1 not only by the desire of travelling at some future period1 but that he might be enabled to read some of the most celebrated authors in their own tongues4 ,he was enamoured with the plays of ,shakspeare1 and attempted a translation of ,macbeth into ,german4 ,the novels of ,richardson1 particularly his ,clarissa1 made a powerful and lasting impression upon his mind4#d ,the works of ,rousseau were eagerly devoured by him4 ,and the poetic flights of ,dante not only aroused his feelings1 but afforded subjects for his daring pencil1 which1 notwithstanding his numerous studies1 was not laid aside4 ,mixing in society naturally gives to an observing mind a knowledge of men and manners4 ,after ,henry ,fuseli had attended for some time the college studies1 and acquired some degree of confidence in his own powers1 he discovered and exposed weak points in some of the professors and tutors who had been held up as examples to the students1 and also brought forward the merit and latent qualities of others1 who from their modesty had remained without notice1 and thus drew them from obscurity4 ,if he could not attain his object by satire1 in which he was very powerful1 he sometimes resorted to caricature1 a weapon not less formidable in his hands4 ,the wounded pride of some of the masters induced them to draw up a formal complaint against him1 and he was threatened with expulsion by the president1 which was only a menace to intimidate him1 as the heads of the college admired his talents1 and were pleased with his assiduity4 ,in reading the ,holy ,scriptures 7which he did diligently71 the classics1 or the modern historians or poets1 ,fuseli's mind was most powerfully attracted by those incidents or expressions which are out of the ordinary course1 and he frequently embodied them with his pencil4 ,bodmer perceiving this bent of his mind1 recommended him to try his powers in poetry1 and gave him1 as models for imitation1 the works of ,klopstock and ,weiland4 ,the former were considered by ,henry to be master-pieces2 he caught the inspiration1 and published1 in a weekly journal called the ,freymthigen ,nachrichten1#e an ode to ,meta4 ,this was so much in the spirit1 and so near an imitation of ,klopstock's style1 that the ardent admirers of this great poet attributed it to him1 and which was believed by all who were not in the secret4 ,he also attempted a tragedy from the ,bible1 ,the ,death of ,saul1 which was also highly commended4 ,it is but reasonable to suppose1 that ,bodmer would endeavour to instil into the mind of a favourite pupil a love for the abstract sciences1 in the knowledge of which he was himself so eminently skilled3 but for these ,fuseli showed an utter distaste1 which continued during the whole of his life4 ,he has more than once exclaimed to me1 ,were the angel ,gabriel sent expressly to teach me the mathematics1 he would fail in his mission4 ,and he has frequently dilated upon the annoyance which he felt1 when discovered by any one of the tutors to be engaged in some favourite pursuit1 by his putting1 in ,latin1 an abrupt and unexpected question in physics1 such as1 ,quid est calor1 ,henrice ,fessli8 ,in the year #agfa1 ,fuseli and his intimate friend ,lavater entered into holy orders4 ,the state of pulpit oratory1 at this time1 in ,zurich1 is thus described by a kinsman#f of the former3 ,the ,dutch method of analyzing was at this time in vogue in our pulpits4 ,by aiming at popularity1 the language was often reduced to the lowest strain1 and to mere puerilities4 ,the subjects were chiefly dogmatical2 and if a moral theme was introduced1 their sermons betrayed no knowledge of mankind3 they were mostly common-place declamation1 deficient in precision and just discrimination4 ,exaggeration prevented the backslider from applying the description to himself2 and as the way to reformation was neither intelligibly nor mildly pointed out1 he was rather irritated than corrected4 ,even the most distinguished preachers lost themselves in long and tiresome discourses1 wandering either through the barren fields of scholastic or academic exercises1 of little interest to a common audience2 or else they spun out labyrinthine allegories4 ,others tried to excite the feelings by doctrines that bordered on mysticism or ,moravianism2 and there were those who made simplicity their aim1 not the noble but the coarser species1 descending to vulgarity and meanness to flatter the popular taste1 and endeavouring to disguise vacuity and sameness by low comparisons1 little tales1 and awkward imagery4 ,some were to be found who1 in their zeal for doctrinal faith1 abused morality and philosophy1 and bestowed the nickname of ,taste-tellers on those who took a different course1 and aimed at a better mode of address4 ,klopstock1 ,bodmer1 ,weiland1 ,zimmerman1 ,s4 ,gessner1 and some others1 feeling how defective pulpit oratory was at ,zurich1 had laboured to bring about a better style of preaching1 but without much effect4 ,fuseli1 upon entering into holy orders1 determined to regulate his efforts1 and by the advice of these learned men1 he chose ,saurin's sermons as models of manner and arrangement2 but with the view of conveying his sentiments so as to produce the greatest effect upon his audience1 adopted the more inflated language of ,klopstock and of ,bodmer4 ,as his reputation stood high at college1 and as his society was coveted for the power which he displayed in conversation1 and for his deep knowledge in the classics and in sacred and profane history2 so1 a great degree of curiosity was excited among his friends1 as to the success of his probationary sermon1 which he knowing1 with characteristic humour1 took his text from the #agth chapter of the ,acts of the ,apostles1 #ahth verse1 ,what will this babbler say8 and preached against the passion of curiosity4 ,the new mode of preaching which ,fuseli adopted and carried into many of the pulpits of ,zurich2 the novelty of the style1 the originality of the ideas1 and the nervous language which he used1 pleased the judicious few2 but it was caviare to the general2 and hence the youthful preacher gained no great degree of popular applause4 ,his friends1 and ,bodmer in particular1 prompted him to persevere in the course which he had commenced1 assuring him1 that1 in the end1 it would be crowned with success2 but at this time an incident happened1 which gave a turn to his pursuits in life4 ,the works of ,rousseau1 ,voltaire1 and others1 who were then endeavouring by their writings to bring about a reform in the political and moral conditions of society1 warmed his imagination1 and he1 ,lavater1 ,jacob and ,felix ,hess1 7who were not less influenced17 were determined to exert themselves1 to benefit those of their native city4 ,an opportunity was soon presented to their active minds4 ,rumour had been for some time busy with the character of a ruling magistrate1 the high land-bailiff ,grebel1 ascribing to him various acts of tyranny and oppression1 and among others1 that of appropriating to himself property1 and bidding defiance to the rightful owners4 ,this he considered he might do with impunity1 not only by the power which he possessed from his high situation1 but also from that which he derived from his father-in-law1 who was the burgomaster of ,zurich4 ,the young friends made diligent inquiries into these charges1 and found that there were ample grounds to justify the reports which were current4 ,their indignation was aroused1 and they sent an anonymous letter to the magistrate1 threatening him with instant exposure if he did not restore the property4 ,grebel1 relying too much upon the feeling of security which power creates1 took no notice of this letter4 ,upon which ,fuseli1 and ,lavater in particular1 excited farther by his contempt1 resolved to make the cause of the injured party their own1 and accordingly wrote a pamphlet1 entitled1 ,the ,unjust ,magistrate1 or the ,complaint of a ,patriot1 in which they detailed1 in forcible and glowing terms1 the acts of oppression which had been committed1 and called upon the ,government to examine into the facts1 and punish the offender4 ,this pamphlet they industriously circulated1 and took care that it should fall into the hands of all the principal members of the government4 ,the manly tone in which it was written1 and the facts adduced in support of the accusation1 made such an impression on the council of ,zurich1 that it was stated from authority1 if the author would avow himself1 all the circumstances should be inquired into1 and the facts carefully examined4 ,upon this1 ,fuseli and ,lavater1 who were the ostensible persons1 boldly stepped forward1 and acknowledged themselves the authors4 ,evidence was taken1 and the truth of the accusation established to its utmost extent4 ,an upright judgment was awarded2 the property restored2 and the guilty magistrate then absconded1 to avoid the personal punishment so justly due to his crimes4 ,of this incident1 which perhaps was the most important of ,fuseli's life1 as it was the cause of his quitting his native country1 and changing his profession1 he very seldom spoke2 and during the whole term of our acquaintance1 never mentioned the particulars but once1 and then remarked1 ,although ,i cannot but reflect with some degree of satisfaction upon the correctness of our feeling1 and the courage which we displayed1 yet1 situated as we and our families then were1 it evinced precipitation on our part1 and a want of knowledge of the world4 ,this spirited act1 on the part of ,fuseli and his friends1 was for some time the theme of public conversation at ,zurich1 and their patriotism was greatly applauded4 ,but the disgrace which had fallen1 by their means1 on the accused1 was felt by his powerful family1 who considered1 that1 from their connexion with him1 a part of the ignominy fell upon themselves4 ,the tendency and natural consequences of such feelings were properly appreciated by the respective families of the young men1 and they considered it prudent to recommend them to withdraw for a time from the city4 ,,chapter ,,ii4 ,the friends are accompanied in their journey by ,professor ,sulzer4-- ,they visit ,augsburgh and ,leipsic4--,arrive at ,berlin4--,fuseli furnishes some designs for ,bodmer's work4--,baron ,arnheim4--,fuseli visits ,barth1 in ,pomerania1 where he pursues his studies for six months under ,professor ,spalding4--,motives which induce him to visit ,england1 where he arrives in #agfc1 under the protection of ,sir ,andrew ,mitchell4--,lord ,scarsdale3 ,mr4 ,coutts3 ,mr4 ,andrew ,millar3 ,mr4 ,joseph ,johnson4--,fuseli receives engagements from the booksellers4--,his first residence in ,london3 becomes acquainted with ,smollet3 ,falconer3 ,a4 ,kauffman3 ,mrs4 ,lloyd3 ,mr4 ,cadell3 ,garrick4--,fuseli accepts1 and shortly after relinquishes the charge of travelling tutor to the son of the ,earl of ,waldegrave4--,his first interview with ,sir ,joshua ,reynolds4--,his earliest production in oil painting4--,he visits ,liverpool4--,takes part in ,rousseau's quarrel with ,hume and ,voltaire1 7#agfg7 and exerts his pen in the cause of his countryman4 ,it was fortunate for ,fuseli and his friends1 that the learned ,sulzer1 who held the situation of professor of mathematics in the ,joachimsthel ,college1 at ,berlin1 was at ,zurich at this time1 having obtained leave from the ,king of ,prussia to visit his native country1 to endeavour to dissipate his grief for the loss of a beloved wife4 ,sulzer1 who had taken a lively interest in the cause which these young men had advocated1 was about to return to ,berlin1 and offered to take them with him3 this opportunity was not to be neglected2 and he1 ,fuseli1 ,lavater1 ,jacob and ,felix ,hess1 set out on their journey1 early in the year #agfc1 accompanied by a numerous train of friends and admirers1 who attended them as far as ,winterthur1 at which place they were welcomed with fervour1 as the enemies of oppression4 ,sulzer justly and properly appreciated what would probably be felt by young men who1 for the first time1 leave home and those connexions which make home dear to them2 and he therefore1 in order to dissipate any unpleasant feelings1 determined to remain for some days at those cities or towns on the road1 where there was any thing to be seen worthy of attention4 ,the change1 however1 was less felt by ,fuseli than by his companions2 the profession in which he had been employed was not one of his choice2 he had always entertained a strong desire to travel1 and he had lost1 a few years previously1 an affectionate mother#g to whom he was tenderly attached4 ,the first city of note at which they tarried was ,augsburgh3 here ,fuseli showed his predilection for art1 in giving1 by letter to his friends at ,zurich1 a florid description of the sensations which he experienced on seeing the colossal figure of ,st4 ,michael over the gateway of the arsenal1 the work of a ,bavarian sculptor1 ,reichel4 ,in the churches and senate-house of this city1 the paintings of ,tintoretto1 ,schnfeld1 and ,rothenhamer1 attracted his particular attention2 and he expressed his regret at the neglect which appeared to attend the works of the last-named master1 7whom he eulogizes as one of the most able painters of ,germany17 as his pictures were then falling into rapid decay4 ,at ,leipsic1 they were introduced by ,sulzer to ,ernesti1 ,gellert1 ,weisse1 and other literati4 ,from the description which ,fuseli gave of the two former1 it is evident that he1 as well as ,lavater1 had paid early in life a sedulous attention to physiognomy4 ,of ,ernesti1 he says1 although he spoke of the liberality of all classes in ,saxony1 his countenance did not agree with his words2 on the contrary1 he seems to be growing intolerant from knowledge and from authorship4 ,of ,gellert1 he remarks1 he has an expressive mouth1 it turns on one side with a sensible easy smile2 he is so gentle1 so accustomed to express simplicity in his very countenance1 and yet so quick-sighted1 that he was disturbed by being looked at1 and inquired whether ,i was displeased with him2 he has certainly a tendency to hypochondria4 ,on their arrival at ,berlin1 ,sulzer commenced 7according to a promise made at ,zurich7 arrangements for publishing a splendid and improved edition of his friend ,bodmer's ,noachide1 which was to be embellished with engravings4 ,b4 ,rhode1 of ,berlin1 was employed to make the designs for the first four cantos2 those for the remaining eight were furnished by ,fuseli1 who1 not only to raise his own credit1 but to show his gratitude to ,bodmer1 exerted his utmost ability upon that work4 ,comparing these with his former drawings1 it is evident that the ,st4 ,michael1 at ,augsburgh1 was the standard for the stupendous forms which he introduced against a murky sky1 in the terrible scenes of the destruction of the primeval inhabitants of the earth4 ,in these subjects he succeeded beyond expectation4 ,in the more lovely scenes of the poem he was not equally happy2 for1 instead of repose and cheerfulness1 his female figures had a degree of wantonness bordering somewhat upon voluptuousness4 ,the popularity of the cause which induced ,fuseli and his companions to leave ,zurich travelled before them1 and they were caressed not only by the friends and acquaintances of ,sulzer1 at ,berlin1 but by all those who were enemies to oppression from whatever quarter it might spring4 ,among these1 was the then ,baron ,arnheim1 who was so much pleased with the recital of the transaction1 and struck with the appearance and conversation of ,fuseli and ,lavater1 that he had a picture painted1 representing their first interview1 which is still preserved by his family4 ,after remaining a short time at ,berlin1 ,sulzer placed his young friends with ,professor ,spalding1 who resided at ,barth1 in ,hither ,pomerania4 ,fuseli here pursued his classical studies with eagerness1 and did not neglect the fine arts1 for we find that he drew the portrait of the ,professor's daughter1 and also added to the decorations of her summer-house by his pencil4 ,during a residence of six months at ,barth1 he gained the highest estimation for talents with all those who knew him1 and the esteem of ,spalding1 but he left his friends there1 being recalled to ,berlin by ,sulzer4 ,the cause of ,fuseli's return to the capital was1 that1 at this time1 some of the literati of ,germany and ,switzerland had it in contemplation to establish a regular channel of literary communication between those countries and ,england4 ,fuseli's tutors and friends1 ,bodmer1 ,breitenger1 and ,sulzer1 felt a lively interest in this project1 and took an active part in carrying the design into execution4 ,these philosophers thought1 that there was no person better qualified than ,fuseli to conduct the business4 ,he was possessed of great mental and bodily activity2 they had the highest opinion of his talents2 and they considered that his extensive knowledge of modern languages would facilitate their project4 ,in making the proposal1 ,sulzer represented that it would be inconvenient1 if not dangerous1 for him to go back1 within a limited time1 to ,zurich2 for it was well known to the family of ,grebel1 that he had taken the most active part in the affair against their relation3 and moreover that1 although his companions might1 under this circumstance1 from their powerful connexions1 return at no distant period with impunity1 yet ,fuseli1 not so happily situated1 would suffer from all the effects of tyranny which power could exercise4 ,this reasoning had its due effect upon the mind of ,fuseli2 he however asked the opinion of his father1 which being in favour of his accepting the offer of ,sulzer1 made him determine to visit ,england4 ,sir ,andrew ,mitchell was at this time the ,british minister at the court of ,prussia3 he was a friend of ,sulzer's1 who accordingly introduced ,fuseli to him4 ,at his house he improved much in ,english conversation1 and he met several men of literary note1 among whom was ,dr4 ,armstrong1 who was then physician to the ,british forces in ,germany2 and with this gentleman he became intimately acquainted4 ,sir ,andrew ,mitchell was about to return to ,england2 and being pleased with the society of ,fuseli1 and wishing to give every facility to the views of ,sulzer1 he liberally made the offer to the latter that his young friend should accompany him to ,london1 and promised that he would give him his protection when there1 and such introductions as should be useful in effecting the object of his mission4 ,this offer was not to be refused3 ,fuseli1 therefore1 set out with ,sir ,andrew1 and arrived in ,england at the close of the year #agfc4 ,before he quitted ,prussia1 he took leave of ,lavater1 his early and devoted friend1 who1 at parting1 put into his hands a paper1 which he previously had framed and glazed1 on which was written1 in ,german1 ,thue den siebenden theil von dem was du thun kannst4#h ,hang this in your bed-chamber1 my dear friend1 said he2 look at it occasionally1 and ,i foresee the result4 ,sir ,andrew ,mitchell fully performed his promise1 for1 on their arrival in ,london1 he was anxious to introduce his protg to men distinguished either for rank1 property1 or talents3 among these were the late ,lord ,scarsdale and ,mr4 ,coutts1 the banker4 ,sir ,andrew1 knowing1 however1 that booksellers of respectability and probity are the best patrons of literary characters1 strongly recommended him to ,mr4 ,andrew ,millar and ,mr4 ,joseph ,johnson4 ,the former was well known as an opulent man1 and an old and established publisher2 the latter had but recently begun business on his own account1 but he had already acquired the character which he retained during life1--that of a man of great integrity1 an encourager of literary men as far as his means extended1 and an excellent judge of their productions4 ,with these persons ,fuseli kept up a friendly intercourse during their lives4 ,fuseli took lodgings in the house of a ,mrs4 ,green1 in ,cranbourn ,street1 then called ,cranbourn ,alley4 ,he lived here from prudential motives1--those of economy1 as well as being near to the house of a gentleman 7,mr4 ,coutts7 to whom he had been introduced1 who resided at this time in ,st4 ,martin's ,lane4 ,no sooner was he fixed in this place1 than he wrote to his father1 to give him an account of his voyage and journey from ,berlin to ,london1 and of the prospects which appeared to be open to him4 ,stranger as he was in the great metropolis of ,england1 separated from his family1 and nearly unknown to any of its inhabitants1 his sensitive feelings were aroused1 and in a gloomy state of mind he sallied forth1 with the letter in his hand1 in search of a post-office4 ,at this period there was much greater brutality of demeanour exercised by the lower orders of the ,english towards foreigners than there is at present4 ,meeting with a vulgar fellow1 ,fuseli inquired his way to the post-office1 in a broad ,german pronunciation3 this produced only a horse-laugh from the man4 ,the forlorn situation in which he was placed burst on his mind2--he stamped with his foot1 while tears trickled down his cheeks4 ,a gentleman who saw the transaction1 and felt for ,fuseli1 apologised for the rudeness which he had received1 explained its cause1 and told him that1 as a foreigner1 he must expect to be so treated by the lower orders of the people3 after this he shewed him where he might deposit his letter4 ,this kindness from a stranger1 in some degree1 restored tranquillity to his agonised feelings4 ,finding that his name was difficult of pronunciation to an ,englishman1 he shortly after altered the arrangement of the letters1 and signed ,fusseli4 ,he kept up a constant correspondence with ,bodmer and ,sulzer4 ,this was not1 however1 conducted in those terms of respectful diffidence in which a pupil generally addresses his tutors2 but with that manly independence of spirit which he inherited from his father1 and with that originality of thought so peculiar to himself2 which1 although he frequently differed in opinion with them1 and expressed his notions with asperity1 was somewhat pleasing to these eminent men1 particularly to ,bodmer1 whose constant advice to his pupils was1 ,think and act for yourselves4 ,the independent spirit of ,fuseli would not allow him to be under the pecuniary obligations which his friends offered2 he therefore laboured hard1 and fortunately got ample employment from the booksellers1 in translating works from the ,french1 ,italian1 and ,german languages into ,english2 and some popular works from the ,english into ,german1--among others the letters of ,lady ,mary ,wortley ,montague4 ,in #agfe1 he published 7with his name affixed7 a translation of the ,abb ,winkelmann's ,reflections on the ,painting and ,sculpture of the ,greeks1 which was dedicated to his friend and patron1 ,lord ,scarsdale4 ,the dedication is dated the #ajth ,april1 #agfe4 ,much to the credit of ,mr4 ,millar1 he took every opportunity of forwarding the sale of this work1 and gave ,fuseli the whole proceeds1 after deducting only the expenses of paper and printing4 ,at this time he visited very frequently ,smollet1 and also ,falconer1 the author of the ,shipwreck1 and other works4 ,the latter then was allowed to occupy apartments in old ,somerset ,house1 and ,fuseli always represented him as a man of mild and inoffensive manners1 although far from being happy1 in consequence of the pressure of his pecuniary circumstances4 ,for ,doctor ,smollet he made several drawings of scenes in his novel of ,peregrine ,pickle1 which were engraved and published in an early edition of that well-known work4 ,this edition is now very scarce4 ,mr4 ,cadell having1 in the year #agff1 succeeded to the business of ,mr4 ,millar1 as a bookseller and publisher1 he also kept up the connexion with ,fuseli1 and gave him constant employment4 ,a taste for the fine arts had been recently awakened in ,england1 and some of the principal painters1 sculptors1 and architects1 had formed themselves into a society for promoting them2 from which circumstance1 high expectations were raised of the encouragement likely to be afforded to artists by the public4 ,fuseli was stimulated by these to fresh exertions of his pencil1 and all his leisure hours were devoted to drawing or etching historical subjects4 ,about this period he became acquainted with two artists his countrymen1 ,mr4 ,moser1 who on the establishment of the ,royal ,academy was appointed ,keeper1 and ,mr4 ,kauffman1 chiefly known1 at present1 as the father of the more celebrated ,angelica ,kauffman1 who1 considered as a female artist1 even now ranks high as an historical painter4 ,with ,miss ,kauffman1 it appears1 ,fuseli was much enamoured2 and although he did not at any time hold her professional talents in high esteem1 yet he always spoke of her in terms of regard1 and considered her as a handsome1 lively1 and engaging woman4 ,the youth1 fine manly countenance and conversational talents of ,fuseli made a deep impression upon most female hearts and minds3 hence1 ,miss ,mary ,moser 7now better known as ,mrs4 ,lloyd71 the daughter of ,mr4 ,moser1 who was in almost the daily habit of seeing and conversing with him1 also experienced their influence2 and she flattered herself that the feelings which she had were mutual4 ,if ,fuseli ever had any affection for this lady while he was in ,england1 it was soon dissipated by change of scene and the pleasures which he pursued when in ,italy4 ,the two following letters1 which are extracted from ,mr4 ,j4 ,t4 ,smith's ,life of ,nollekens1 tend to show the disposition of both parties towards each other4 ,if you have not forgotten at ,rome those friends whom you remembered at ,florence1 write to me from that nursery of arts and raree-show of the world1 which flourishes in ruins3 tell me of pictures1 palaces1 people1 lakes1 woods1 and rivers2 say if ,old ,tiber droops with age1 or whether his waters flow as clear1 his rushes grow as green1 and his swans look as white1 as those of ,father ,thames2 or write me your own thoughts and reflections1 which will be more acceptable than any description of any thing ,greece and ,rome have done these two thousand years4 ,i suppose there has been a million of letters sent to ,italy with an account of our ,exhibition1 so it will be only telling you what you know already1 to say that ,reynolds was like himself in pictures which you have seen2 ,gainsborough beyond himself in a portrait of a gentleman in a ,vandyke habit2 and ,zoffany superior to every body1 in a portrait of ,garrick in the character of ,abel ,drugger1 with two other figures1 ,subtle and ,face4 ,sir ,joshua agreed to give a hundred guineas for the picture2 ,lord ,carlisle half an hour after offered ,reynolds twenty to part with it1 which the ,knight generously refused1 resigned his intended purchase to the ,lord1 and the emolument to his brother artist4 7,he is a gentleman67 ,angelica made a very great addition to the show2 and ,mr4 ,hamilton's picture of ,brisis parting from ,achilles1 was very much admired2 the ,brisis in taste1 l'antique1 elegant and simple4 ,coates1 ,dance1 ,wilson1 c4 as usual4 ,mr4 ,west had no large picture finished4 ,you will doubtless imagine1 that ,i derived my epistolary genius from my nurse2 but when you are tired of my gossiping1 you may burn the letter1 so ,i shall go on4 ,some of the literati of the ,royal ,academy were very much disappointed1 as they could not obtain diplomas2 but the ,secretary1 who is above trifles1 has since made a very flattering compliment to the ,academy in the ,preface to his ,travels3 the ,professor of ,history is comforted by the success of his ,deserted ,village1 which is a very pretty poem1 and has lately put himself under the conduct of ,mrs4 ,hornick and her fair daughters1 and is gone to ,france2 and ,dr4 ,johnson sips his tea1 and cares not for the vanity of the world4 ,sir ,joshua1 a few days ago1 entertained the ,council and ,visitors with calipash and calipee1 except poor ,coates1 who last week fell a sacrifice to the corroding power of soap-lees1 which he hoped would have cured him of the stone3 many a tear will drop on his grave1 as he is not more lamented as an artist than a friend to the distressed4 7,ma poca polvere sono che nulla sente67 ,my mamma declares that you are an insufferable creature1 and that she speaks as good ,english as your mother did ,high-,german4 ,mr4 ,meyer laughed aloud at your letter1 and desired to be remembered4 ,my father and his daughter long to know the progress you will make1 particularly ,mary ,moser1 ,who remains sincerely your friend1 and believes you will exclaim or mutter to yourself1 ',why did she send this d----d nonsense to me8' ,henry ,fuseli1 ,esq4 ,roma4 99 99 99 99 99 ,rome1 ,april #bg1 #agga4 ,,madam1 ,i am inexcusable4 ,i know your letter by heart1 and have never answered it2 but ,i am often so very unhappy within1 that ,i hold it matter of remorse to distress such a friend as ,miss ,moser with my own whimsical miseries2--they may be fancied evils1 but to him who has fancy1 real evils are unnecessary1 though ,i have them too4 ,all ,i can say is1 that ,i am approaching the period which commonly decides a man's life with regard to fame or infamy2 if ,i am distracted by the thought1 those who have passed the ,rubicon will excuse me1 and you are amongst the number4 ,mr4 ,runciman1 who does me the favour to carry these lines1 my friend1 and1 in my opinion1 the best ,painter of us in ,rome1 has desired me to introduce him to your family2 but he wants no other introduction than his merit4 ,i beg my warmest compliments to papa and mamma1 and am unaltered1 ,madam1 ,your most obliged servant and friend1 ,fuseli4 ,to ,miss ,moser1 ,craven ,buildings1 ,drury ,lane4 ,mrs4 ,lloyd was a painter of flowers1 which she grouped with taste1 and coloured with truth and brilliancy2 in this department of the art she experienced patronage from her late ,majesty ,queen ,charlotte1 who employed her pencil not only on pictures1 but also to decorate a room in the palace at ,frogmore4 ,this lady always held the talents of ,fuseli in the highest respect4 ,being invited by the late ,mr4 ,angerstein to view the superb collection of pictures in his house in ,pall ,mall1 then belonging to him1 but subsequently sold by his heirs to the ,nation1 she left him by expressing her gratitude for the treat which his kindness had afforded her1 but she added1 ,in my opinion1 ,sir1 your finest pictures are on the staircase1 alluding to those which he purchased of ,fuseli1 and which had formed a part of the ,milton ,gallery4 ,at this time1 ,garrick was in the height of his reputation2 and as ,fuseli considered the theatre the best school for a foreigner to acquire the pronunciation of the ,english language1 and ,garrick's performance an excellent imitation of the passions1 which would give him a lesson essential to historical designs2 he never missed the opportunity of seeing him act1 and he was generally to be found in the front row of the pit3 to obtain which1 he often used much personal exertion1 and put himself in situations of hazard and inconvenience4 ,and he has often dwelt with delight upon the performances of the man who represented so well the stormy passions of ,richard1 or the easy libertinism of ,ranger2 and then could descend to the credulous ,abel ,drugger1 and1 in the character of the silly tobacconist1 so alter the expression of his countenance as scarcely to be recognised as the person who had delineated the higher character in the histrionic art4 ,as a proof of the strong impression which ,garrick's acting made at this period upon ,fuseli1 there are now in the possession of the ,countess of ,guilford1 two drawings1 which he presented to the late ,alderman ,cadell2 the one representing ,garrick and ,mrs4 ,pritchard as ,macbeth and ,lady ,macbeth1 from the passage1 ,i have done the deed2 the other1 ,garrick as ,richard the ,third1 making love to ,lady ,anne1 over the corse of her father-in-law1 ,henry the ,sixth4 ,these1 according to an inscription on the second1 were made in ,london1 in #agff4 ,and although they have the faults of most of his early productions1 yet they are drawn with characteristic truth and spirit4 ,at the end of the year 7#agff7 an advantageous offer was made to ,fuseli1 to undertake the situation of travelling tutor to ,viscount ,chewton1 the eldest son of ,earl ,waldegrave1 which1 after consulting ,professor ,sulzer1 he accepted4 ,for this charge1 it was considered1 his extensive knowledge of languages and eminent literary talents fully qualified him4 ,his lordship was young1 and1 when in ,france1 showed an impatience of control common to a youth of his age and rank in life1 the latter of which he thought should exempt him from the authority and constraint which his tutor considered it his duty to exert4 ,this disposition1 on the part of the pupil1 naturally excited the irritable feelings of ,fuseli1 and on a second refusal to obey1 a severe blow was given4 ,considering that1 after this1 his services would be of no avail to a youth by whom they were not properly appreciated1 he1 to use his own words1 determining to be a bear-leader no longer1 wrote in nearly those terms to ,earl ,waldegrave1 and returned to ,england4 ,he left1 however1 some written instructions with ,lord ,chewton1 showing how he might profit by travelling4 ,on his return to this country1 ,earl ,waldegrave1 so far from condemning 7as ,fuseli expected7 his conduct1 told him that he had acted with a proper degree of spirit2 but ,fuseli's family1 and most of his friends1 blamed him in the strongest terms for his impetuosity1 as they considered that a want of forbearance on his part had ruined those prospects in life which naturally would arise from forming a connexion with a family of such consequence as that of ,earl ,waldegrave4 ,to ,bodmer he explained all the circumstances of the case1 with the state of his feelings2 and his venerable tutor wrote him a letter of consolation4 ,in reply to this1 ,fuseli spoke in florid terms of the agonies which he had felt while residing in that noble family1 when he considered himself obliged to say ,yes1 when ,no stuck in the throat2--and thus showed1 that he was not framed to live with courtiers4 ,in after-life he used to remark jocosely to his friends1 ,the noble family of ,waldegrave took me for a bear-leader1 but they found me the bear4 ,on ,fuseli's return to ,england1 in #agfg1 there was every prospect that the society which had been formed for the promotion of the fine arts would receive royal protection and patronage1 and become a chartered body4#i ,and it was then the general opinion1 that great public encouragement would be given to artists4 ,this still increased his wish to become a painter4 ,he sought for and obtained an introduction to ,mr4 7afterwards ,sir ,joshua7 ,reynolds1 to whom he showed a portfolio of drawings1 and some small etchings1 which he had recently made from subjects in the ,bible1 and an etching on a large scale from ,plutarch1--,dion seeing a female spectre sweep his hall4 ,sir ,joshua1 who was much struck with the style1 grandeur1 and original conception of his works1 asked him how long he had been from ,italy8 ,fuseli answered1 he had never seen that favoured country2 at which the former expressed much surprise2 and1 to mark how highly he estimated his talents1 requested permission to have some of the drawings copied for himself4 ,this was readily granted1 and he was induced1 by the solicitations of ,fuseli1 to accept some of the etchings4 ,the interview ended by ,reynolds assuring him1 that were he at his age1 and endowed with the ability of producing such works1 if any one were to offer him an estate of a thousand pounds a-year1 on condition of being any thing but a painter1 he would1 without the least hesitation1 reject the offer4 ,having received such encouragement and flattering encomiums from the greatest painter of the age1 ,fuseli directed nearly the whole of his attention to drawing2 and at the recommendation of ,reynolds1 afterwards tried oil colours4 ,the first picture he produced was ,joseph interpreting the dreams of the butler and baker of ,pharaoh4 ,on showing this to ,reynolds1 he encouraged him to proceed1 remarking1 that he might1 if he would1 be a colourist as well as a draughtsman4 ,this picture1 now in the possession of the ,countess of ,guilford1 fully justifies the opinion of ,sir ,joshua1 as it is remarkably well coloured1 and1 as a first attempt in oil colours1 may be considered a surprising production4 ,from the time of ,fuseli's first arrival in ,england1 he had been a constant visitor at ,mr4 ,johnson's house1 and1 in common with all those who were acquainted with him1 was a great admirer of his steady1 upright character4 ,in the summer of #agfg1 he was prevailed upon to accompany him to ,liverpool1 which was ,johnson's native town4 ,from this1 and subsequent visits1 ,fuseli became acquainted with men who1 in after-life1 were the greatest patrons of his pencil4 ,the attention of the public was at this time much engaged by the constant attacks made by ,hume and ,voltaire on the works of ,rousseau4 ,fuseli advocated the cause of his countryman1 and published anonymously1 during the year #agfg1 a thin duodecimo volume1 entitled ,remarks on the ,writings and ,conduct of ,j4 ,j4 ,rousseau4 ,but he never wished it to be considered that he was the author of this work4 ,to speak of it as a literary production1 it abounds with wit and sarcasm2 and although1 in style1 it cannot be considered strictly ,english1 yet there is novelty in the remarks1 and great power of language throughout the book4 ,it also shows him to be well read in the works of ,rousseau1 whom at this time he idolized1 and to be perfectly acquainted with the nature of the disputes in all their bearings4 ,perhaps the reasons for not wishing it to be considered a work of his1 although he never denied it1 were1 that there are in several instances coarseness of language and indelicacies of expression which disfigure the pages of the book1 and that in more advanced life the high opinion which he had formed of ,rousseau1 was in a degree abated4 ,fuseli gave the design for the frontispiece1 which represents in the foreground1 ,voltaire booted and spurred1 riding upon man1 who is crawling upon the earth3 in the back of the picture1 ,justice and ,liberty are gibbeted4 ,rousseau is witnessing ,voltaire's pranks1 and by his attitude seems to threaten disclosure4 ,this work is rarely to be met with1 as the greater part of the impression was destroyed shortly after it was printed1 by an accidental fire which took place in ,mr4 ,johnson's house1 who then resided in ,paternoster ,row4 ,,chapter ,,iii ,fuseli leaves ,england for ,italy in the society of ,dr4 ,armstrong4--,they quarrel1 and separate at ,genoa4--,fuseli arrives at ,rome 7#aggj74--;,his principle of study there4--,he suffers through a fever1 and repairs to ,venice for his health4--,visits ,naples4--,quits ,rome 7#aggh7 for ,switzerland4--,letter to ,mr4 ,northcote4--,fuseli renews his classical studies4--,visits his family at ,zurich4--,engages in an unsuccessful love-affair4--,arrives again in ,london4 ,fuseli had now determined to relinquish the pen for the pencil1 and to devote his life to painting2 his wishes were therefore directed to ,rome1 the seat of the fine arts4 ,having at ,mr4 ,coutts' table renewed the intimacy with ,dr4 ,armstrong1 which formerly subsisted at ,berlin1 and as the ,doctor considered it necessary to pass the winter in the milder climate of ,italy1 to relieve a catarrhal complaint1 under which he was then labouring1 ,fuseli was tempted to accompany him thither1 and they left ,london the end of ,november #agfi1 with the intention of going to ,leghorn by sea4 ,their voyage1 from adverse winds and tempestuous weather1 was long and tedious2 the monotony of a life at sea1 and the qualms which generally affect landsmen in such a situation1 were not fitted to allay the naturally irritable tempers of ,armstrong and his companion3 they at first became dissatisfied with their situation1 then with each other1 and finally quarrelled about the pronunciation of an ,english word2 ,fuseli pertinaciously maintaining that a ,swiss had as great a right to judge of the correct pronunciation of ,english as a ,scotsman4 ,after a tedious passage of twenty-eight days1 the ship was driven by a gale of wind into ,genoa1 where ,fuseli and ,armstrong parted in a mood far from friendly4 ,armstrong took the direct road to ,florence1 where he intended to reside4 ,fuseli went first to ,milan2 here he remained a few days to examine the works of art1 and then passed a short time at ,florence1 on his way to ,rome1 where he arrived on the #ith of ,february #aggj4 ,shortly after he had taken up his abode in the eternal city1 he again changed the spelling of his name2 this he did to accommodate it to the ,italian pronunciation2 and always afterwards signed1 ,fuseli4 ,his views now were to see the stores of art1 which had been collected in1 or executed at ,rome2 and subsequently1 to examine with care each particular specimen1 for his future improvement4 ,he did not spend his time in measuring the proportion of the several antique statues1 or in copying the fresco or oil pictures of the great masters of modern times2 but in studying intensely the principles upon which they had worked1 in order to infuse some of their power and spirit into his own productions4 ,although he paid minute attention to the works of ,raphael1 ,correggio1 ,titian1 and the other great men whom ,italy has produced1 yet1 he considered the antique and ,michael ,angelo as his masters1 and formed his style upon their principles4 ,to augment his knowledge1 he examined living models1 sometimes attended the schools of anatomy1 and used the dissecting knife1 in order to trace the origin and insertion of the outer layer of muscles of the human body4 ,but he was always averse to dissecting1 believing the current story1 that his idol1 ,michael ,angelo1 had nearly lost his life from a fever got by an anatomical examination of a human body in a state of putrefaction4 ,by such well-directed studies1 and by great exertion1 his improvement was rapid1 and he soon acquired a boldness and grandeur of drawing which surprised the ,italian artists1 one of whom was so struck with some of his compositions1 that1 in reference to their invention1 he immediately exclaimed1 ,michael ,angelo has come again6 ,in the year #aggb1 his progress was impeded by a fever1 which enfeebled his nervous system4 ,this illness he attributed to the heat of the climate1 and to having1 in a degree1 departed from those regular and very abstemious habits which marked the early part of his life4 ,the fever changed his hair1 originally of a flaxen1 to a perfectly white colour1 and caused a tremulous motion in the hands1 which never left him1 but increased with age4 ,he has more than once told me1 that this indisposition drove his mind into that state1 which ,armstrong so forcibly describes in ,the ,art of preserving ,health3 ,such a dastardly despair ,unmans your soul1 as madd'ning ,pentheus felt1 ,when1 baited round ,cithron's cruel sides1 ,he saw two suns1 and double ,thebes ascend4 ,being advised to change the air and scene1 he went to ,venice1 and remained there until he had thoroughly examined the works of art in that city1 and regained sufficient strength of body and mind to resume with effect his studies and labours at ,rome4 ,although he got much employment from those ,englishmen who resided at or visited ,rome1 yet he saved no money1 being always negligent of pecuniary concerns4 ,his friends in ,england were unacquainted with his progress in the arts until the year #aggd1 when he sent a drawing to the exhibition of the ,royal ,academy1 the subject of which was1 ,the death of ,cardinal ,beaufort1 from ,shakspeare4 ,in #agge1 he visited ,naples1 studied the works of art in that city1 and examined the excavations at ,herculaneum and ,pompeii4 ,in #aggg1 he sent from ,rome to ,england a picture in oil1 representing a scene in ,macbeth1 for the annual exhibition at the ,royal ,academy4 ,in #aggh1 he took a farewell of ,rome1 and left his friends there with regret4 ,as a nation1 however1 he was not very partial to the modern ,italians1 who1 he said1 were lively and entertaining1 but there was the slight drawback of never feeling one's life safe in their presence4 ,this he exemplified by the following fact3 ,when ,i was one day preparing to draw from a woman selected by artists for a model1 on account of her fine figure1 on altering the arrangement of her dress1 ,i saw the hilt of a dagger in her bosom1 and on inquiring1 with astonishment1 what it meant1 she drew it1 and quaintly answered1 ',contro gl' impertinenti4' ,on his way to ,switzerland1 he stayed some time at ,bologna1 ,parma1 ,mantua1 ,milan1 ,lugano1 and ,belanzona4 ,at ,bologna1 he remained with ,sir ,robert ,smyth1 ,bart4 who1 while at ,rome1 had given him considerable employment4 ,thence he proceeded to ,lugano1 from which place he wrote the following letter to ,mr4 ,northcote1 who was then studying at ,rome3-- ,lugano1 #bith ,sept4 #aggh4 ,,dear ,,northcote1 ,you may1 and must think it unfriendly for me to have advanced to the borders of ,switzerland without writing to you2 but what would have been friendly to you was death to me2 and self-preservation is the first duty of the eighteenth century4 ,madness lies on the road ,i must think over to come at you2 and at the sound of ,rome1 my heart swells1 my eye kindles1 and frenzy seizes me4 ,i have lived at ,bologna as agreeably and as happily as my lacerated heart and boiling brains would let me1 with ,sir ,robert and his lady4 ,you1 whose eye diverges not1 will make the use of ,bologna ,i have not1 or at least but very imperfectly3 much more than what is thought of1 may be made of that place4 ,what ,i admire1 and what ,i frequented most1--what indeed suited my melancholy best1 are the cloisters of ,st4 ,michael1 in ,bosco1 near the city4 ,the fragments of painting there are by ,ludovico ,caracci and his school1 and1 in my opinion1 superior for realities to the ,farnese gallery4 ,there is a figure#aj in one of the pictures which my soul has set her seal upon3 'tis to no purpose to tell you what figure--if you find it not1 or doubt1 it was not painted for you2 and if you find it1 you will be obliged for the pleasure to yourself only4 ,still in that1 and all ,i have seen since my departure1 ,hesiod's paradox gains more and more ground with me1--'that the half is fuller than the whole1' or1 if you will1 full of the whole4 ,at ,mantua ,i have had emotions which ,i had not apprehended from ,julio ,romano1 at ,rome3 but the post going1 ,i have not time to enter into so contradictory a character4 ,the enclosed#aa ,i shall re-demand at your hands in ,england4 ,take need of the mice4 ,of ,rome1 you may tell me what you please4 ,those ,i should wish to know something about1 you know not4 ,i have written to ,navina in the ,bolognese palace2 pray give her my best compliments e dille che quando sar in ,inghilterra trover qualche opportunit di provare1 prima del mio ritorno in ,italia1 che non sono capace di scordarmi dell' amicizia sua4 ,to ,mr4 ,hoare ,i shall write next post4 ,love me1 ,fuseli4 ,p4,s4 ,i have been here 7at ,lugano7 these eight days1 at the house of an old schoolfellow of mine1 who is governor of this place4 ,mons4 ,james ,northcote1 ,roma4 ,in ,italy he became acquainted with ,david and other artists of note1 as well as with several ,englishmen distinguished either for rank or talents4 ,with the ,hon4 ,george ,pitt 7the late ,lord ,rivers17 he there became very intimate1 and he was flattered by his friendship and patronage1 which he enjoyed during the whole of his life4 ,the necessary employment of his time in painting1 and studying works of art1 during several of the first years of his residence in ,italy1 was such as to leave little opportunity for other occupations1 and he found1 to his regret1 that he had either lost a great deal of his knowledge of the ,greek language1 or1 what is more probable1 that he had never possessed it in that degree which he flattered himself he had attained while at college4 ,determined1 however1 to regain or acquire this1 he now studied sedulously the ,grecian poets1 made copious extracts of fine passages from their works1 and thus gained1 in the opinion of the best judges1 what may be called1 at least1 a competent knowledge of that language4 ,although ,fuseli's professional talents were much admired1 and highly appreciated in ,italy1 yet1 as he did not court it1 he never obtained a diploma1 or other honour1 from any academy in those cities in which he resided1 or occasionally visited4 ,indeed1 he refused all overtures which were made to him on this subject2 for he considered that the institution of academies were symptoms of art in distress4 ,having arrived at ,zurich the end of ,october #aggh1 after an absence of sixteen years1 his father1 who had taken great pains1 in early life1 to check his love for the fine arts1 and to prevent his being an artist1 was now gratified by witnessing the great proficiency he had attained3 and he knew enough of the state of the arts in ,europe to feel that his son did then rank1 or would shortly1 among the first painters of his time4 ,during a residence of six months with his family1 he painted some pictures2 among them ,the ,confederacy of the ,founders of ,helvetian liberty1 which he presented to1 and which is still preserved in1 the ,senate-house at ,zurich4 ,lavater1 however1 did not consider this picture a good specimen of his friend's powers1 particularly as to colouring1 and expressed his distaste to this in such strong terms1 as were by no means gratifying to him4 ,fuseli was always very susceptible of the passion of love4 ,but when at ,zurich1 in the year #aggi1 his affections were gained in an extraordinary degree by the attractions of a young lady1 then in her twenty-first year1 the daughter of a magistrate1 who resided in the ,rech house of ,zurich4 ,this lady1 whom he calls in his correspondence1 ,nanna1 had a fine person1 lively wit1 and great accomplishments1 and among the latter1 her proficiency in music was considerable1 which is celebrated in a poem by ,gethe4 ,it appears that she was not indifferent to him2 but her father1 who was opulent1 considered that her marriage with a man dependent upon the caprice of the public for his support1 was not a suitable connexion for his daughter1 and he therefore withheld his consent to their union4 ,this disappointment drove ,fuseli from ,zurich earlier than he intended2 and it would appear by his letters1 that his mind1 even after his arrival in ,england1 was almost in a state of phrenzy4 ,he1 some time after1 however1 received the intelligence that ,nanna had given her hand to a gentleman who had long solicited it1 ,mons4 le ,consieller ,schinz1 the son of a brother of ,madame ,lavater2 and thus his hopes in that quarter terminated4 ,in ,april #aggi1 he took a last farewell of his native country and family1 and returned to settle again in ,london4 ,on his way to ,england1 in order to improve his knowledge in art1 he travelled leisurely through ,france1 ,holland1 and the ,low ,countries1 examining in his route whatever was worthy of notice4 ,,chapter ,,iv4 ,fuseli settles in ,london4--,interview with ,mr4 ,coutts4--,reconciliation with ,dr4 ,armstrong4--,professor ,bonnycastle4--,society at ,mr4 ,lock's4--,mr4 ,james ,carrick ,moore and ,admiral ,sir ,graham ,moore4--,sir ,joshua ,reynolds4--,mr4 ,west4--,anecdote of ,fuseli and ,west4--,the popular picture of ,the ,nightmare4--,death of ,fuseli's ,father4--,visit to ,mr4 ,roscoe at ,liverpool4--,fuseli's singular engagement to revise ,cowper's ,iliad4--,three ,letters from ,mr4 ,cowper4--,anecdotes of ,fuseli and ,dr4 ,geddes4 ,when ,fuseli arrived in ,london1 he took apartments in the house of an artist1 ,mr4 ,cartwright1 whom he had known at ,rome4 ,this ,gentleman then resided at ,no4 #ajj1 ,st4 ,martin's ,lane1 and practised chiefly as a portrait painter2 he sometimes attempted historical subjects1 in which1 however1 he did not excel4 ,the kindness and simplicity of ,mr4 ,cartwright's disposition and manners were appreciated by ,fuseli1 who afforded him many useful hints1 and sometimes assistance1 in his professional pursuits4 ,when we look at the historical pictures which he painted1 it is easy to perceive what figures owe their production to ,fuseli's mind2 but it must be confessed that they appear to hang to the subject ,like a giant's robe upon a dwarfish thief4 ,when settled in ,london1 his first object was to renew an acquaintance with those whose friendship he had cultivated1 and1 as he considered1 secured before he went to ,italy4 ,on calling1 for this purpose1 upon ,mr4 ,coutts1 that gentleman frankly said1 he was not pleased with him for the quarrel which he had with ,dr4 ,armstrong while on board ship4 ,fuseli attempted to remove the impression which had been made on ,mr4 ,coutts' mind2 but that gentleman replied1 ,i consider that the age and talents of the ,doctor should have commanded a sufficient degree of respect from you1 to have prevented any rudeness on your part2 and ,i am very sorry to tell you1 that he is now labouring under a severe1 and what is considered an incurable malady4 ,this account disarmed ,fuseli1 who had always entertained a high opinion of the talents of ,armstrong1 and considered his poems1 particularly that on ,the ,art of preserving ,health1 productions of great merit4 ,he therefore determined to suppress every hostile feeling1 and to call upon the ,doctor without delay4 ,on sending up his name1 he was admitted almost immediately into ,armstrong's bed-chamber4 ,the poet1 however1 could not restrain his naturally sarcastic humour1 and the following dialogue took place3--,armstrong3 ,so1 you have come back8 ,fuseli3 ,yes2 ,i have come home4 ,armstrong3 ,come1 you mean1 to ,london6 'the needy villain's gen'ral home2' however1 7putting out his hand7 ,i thank you for this visit3 you find me in bad plight2 but ,i am glad to see you again4 ,after this salutation they conversed amicably2 but the ,doctor did not long survive the interview4#ab ,about this time1 the intimacy between ,fuseli and ,professor ,bonnycastle commenced1 which was kept up during their lives4 ,the introduction took place at ,mr4 ,johnson's house4 ,fuseli's voice being heard as he ascended the staircase1 ,mr4 ,johnson said to ,bonnycastle1 ,i will now introduce you to a most ingenious foreigner1 whom ,i think you will like2 but1 if you wish to enjoy his conversation1 you will not attempt to stop the torrent of his words by contradicting him4 ,the genius and acquirements of ,fuseli soon attracted the notice of men who were distinguished for learning and talents1 and more especially those who possessed also a taste for the fine arts2 among whom may be particularly noticed ,lord ,orford1 and ,mr4 ,lock of ,norbury ,park1 with whom1 and with his eldest son in particular1 he kept up a constant friendly intercourse4 ,fuseli not only regarded ,mr4 ,william ,lock junior1 for the amiability of his character and his extensive knowledge1 but also for his taste and critical judgment in the fine arts1 as well as for the power which he displays in historical painting1 whenever he condescends to employ his pencil thereon4 ,in this particular1 he considered that ,mr4 ,w4 ,lock ranked as high1 or higher1 than any historic painter in ,england4 ,the society at the house of ,mr4 ,lock was well chosen and very select2 and here he occasionally met ,sir ,joshua ,reynolds and ,dr4 ,moore1 author of ,zeluco and other popular works4 ,dr4 ,moore being highly entertained with his conversation1 took an early opportunity of introducing him to his family1 with the whole of whom ,fuseli kept up the most uninterrupted intercourse and friendship during life4 ,i may1 ,i hope1 here be allowed to digress by stating1 that after the marriage of ,mr4 ,james ,carrick ,moore and that of his brother1 ,admiral ,sir ,graham ,moore1 ,fuseli in a manner became domesticated in their respective families4 ,in their houses he was always a welcome and highly-favoured guest3 there he was unrestrained2 and his wit and gibes were allowed to sally forth sometimes upon contemporary artists1 and often upon popular men1 or passing events4 ,the freedom which he enjoyed in their society1 encouraged him to give utterance to the wild and unpremeditated flights of his fancy4 ,it was with these favoured friends that he displayed the depth of his learning1 his fine taste in poetry1 and critical judgment in painting4 ,by their indulgence1 his intemperate expressions usually passed unnoticed1 and the ebullitions of a naturally impatient temper were soothed4 ,gratitude makes me acknowledge the uniform kindness which ,i have also experienced from ,mr4 ,carrick ,moore and his family2 and that ,i am indebted to them for much valuable assistance in compiling the particulars of ,fuseli's life1 and for some of those characteristic anecdotes and reminiscences which will be found in the sequel4 ,fuseli has more than once said to me1 after we had partaken of their hospitality1 ,moore's is the most pleasant house to visit that ,i know1 and coupled the observation with such encomiums on the sound sense1 knowledge1 and accomplishments of that family1 7known certainly to those who have the pleasure of their acquaintance17 which1 if repeated in this place1 might be considered by some as flattery on my part4 ,when ,fuseli returned to ,england1 ,sir ,joshua ,reynolds was in the zenith of popularity as a portrait painter2 but his powers in historical painting were not then sufficiently appreciated3 hence1 some of his best works remained on his hands until his death2 for example1 the ,dido1 the series of designs for the painted window at ,oxford1 the ,cymon and ,iphigenia1 and several others4 ,west1 as an historical painter1 was held1 at this time1 in equal1 if not in higher esteem by the public1 than ,sir ,joshua4 ,fuseli was astonished at this1 and accordingly was not backward in expressing his opinion thereon1 both in writing and in conversation1 for he was at no time of his life an admirer of ,west4 ,he however always gave to him the merit of much skill in composing2--of a thorough knowledge of the art which he professed1 and a perfect mastery over the materials which he employed2 and he spoke in terms of qualified praise of his pictures of ,regulus1--,death of ,wolfe1 and ,paul shaking the viper from his hand4--,but he considered that ,west was wanting in those qualities of the art which give value to historical design1--invention1 and boldness of drawing2 and being determined to show what he could do in these particulars1 in #aghj1 ,fuseli exhibited at the ,royal ,academy the following pictures3 ,ezzlin musing over ,meduna1 slain by him1 for disloyalty1 during his absence in the ,holy ,land4--,satan starting from the touch of ,ithuriel's lance4--,jason appearing before ,pelias1 to whom the sight of a man with a single sandal had been predicted fatal4 ,these paintings raised him1 in the opinion of the best judges1 to the highest rank in the art2 and the ,president1 ,sir ,joshua ,reynolds1 considered that they possessed so much merit1 that he had them placed in prominent situations in the ,exhibition4 ,the following anecdote has been told of ,fuseli1 with regard to ,west1 which is certainly characteristic of the man1 and if true1 shows his feelings towards that painter in a very pointed manner4 ,at the election of ,west to the chair of the ,royal ,academy1 in the year #ahjc1 after a secession of twelve months1 the votes for his return to the office of ,president were unanimous1 except one1 which was in favour of ,mrs4 ,lloyd1 then an academician4 ,fuseli was taxed by some of the members with having given this vote1 and answered1 ,well1 suppose ,i did1 she is eligible to the office--and is not one old woman as good as another8 ,the next year1 #agha1 he painted his most popular picture1 ,the ,nightmare1 which was considered to be unequalled for originality of conception4 ,the drawing first made1 which is now in my possession1 had the words1 ,st4 ,martin's ,lane1 ,march #agha1 written by him in the margin2 it is a masterly performance1 chiefly in black chalk1 and is composed without the head of the mare4 ,this subsequent thought is added in the picture1 which1 when placed in the annual exhibition of #aghb1 excited1 as it naturally would1 an uncommon degree of interest4 ,this picture was sold by him for twenty guineas2 it was subsequently engraved by ,burke1 and published by ,j4 ,r4 ,smith2 and so popular was the subject1 that the publisher acknowledged to have gained upwards of five hundred pounds by the sale of the prints1 although vended at a small price4 ,the conception of the subject of ,the ,nightmare has been thus beautifully described by one of the most popular poets of his time1--,dr4 ,darwin4 ,so on his ,,nightmare1 through the evening fog1 ,flits the squab fiend o'er fen1 and lake1 and bog2 ,seeks some love-wilder'd maid with sleep oppress'd ,alights1 and grinning sits upon her breast-- ,such as of late1 amid the murky sky1 ,was marked by ,,fuseli',s poetic eye2 ,whose daring tints1 with ,shakspeare's happiest grace1 ,gave to the airy phantom form and place-- ,back o'er her pillow sinks her blushing head1 ,her snow-white limbs hang helpless from the bed2 ,while with quick sighs and suffocative breath1 ,her interrupted heart-pulse swims in death4 ,fuseli painted at different periods several pictures of the ,nightmare3 but in each of them there are variations from1 or additions to1 the first drawing of that subject4 ,his fame was about this time further raised by two pictures1 ,the ,weird ,sisters1 and ,lady ,macbeth walking in her sleep1 of which excellent prints in mezzotinto were made2 these also became popular1 and tended to advance the merit of the artist in the opinion of connoisseurs4 ,in #agha1 he received intelligence of the death of his father1#ac who was esteemed both as a writer and a painter1 and had not only acquired a name for his talents1 but for the assistance which he was at all times ready to give in furtherance of literature and the fine arts4 ,at his decease1 he had arrived at the advanced age of seventy-five years4 ,fuseli this year painted a picture1 representing an interview1 which took place in #aggh1 between him and his aged tutor1 ,bodmer4 ,in this1 ,fuseli is sitting in an attitude of great attention1 and ,bodmer apparently speaking3 the subject of the conversation may be supposed to relate to philosophy or literature1 from the bust of a sage which is placed upon the mantel of the room4 ,this picture he sent to ,zurich1 as a present to ,solomon ,escher1 a friend of his1 and a near relation of ,bodmer4 ,about this period1 in paying a visit to ,lord ,orford1 with whom he kept up the most familiar intercourse1 he had the misfortune to fall from a horse1 and1 among other injuries which he received dislocated his shoulder4 ,in #aghe1 he again visited ,liverpool1 having received an invitation from ,mr4 ,roscoe1#ad whose acquaintance he had made shortly after his return to this country from ,italy4 ,this visit cemented that friendship which remained unabated during his life4 ,of the virtues and talents of this friend1 ,fuseli always spoke in the highest terms of praise4 ,mr4 ,roscoe1 who saw ,fuseli's works with the eye of a poet1 as well as with that of a connoisseur1 patronized him1 not only by giving him commissions at different times to paint ten pictures for himself1 but by recommending his works to his numerous friends4 ,in ,january #aghf1 ,cowper issued a prospectus for publishing a translation of ,homer into ,english blank verse4 ,to give the public some notion of his powers1 and ability to execute the task1 he sent to ,mr4 ,johnson1 his publisher1 a manuscript translation of #ajg lines of the #bdth book of the ,iliad1 being part of the interview of ,priam and ,achilles1 and also proposals for publishing the work by subscription4 ,this specimen was shown to ,fuseli1 who1 without hesitation1 made several alterations in it1 which appeared to ,mr4 ,johnson to be so judicious1 that he sent it back to ,cowper for his opinion before the manuscript was printed1 without1 however1 mentioning the name of the critic4 ,cowper immediately saw that these alterations were improvements1 and had been made by a scholar and a man of taste2 and expressed his readiness1 not only to adopt them1 but to attend to any suggestions1 if the same person would overlook his translation4 ,fuseli readily agreed to do this1 without the notion of any reward2 and he accordingly made observations on the translation of the ,iliad1 and alterations therein1 before the several books passed through the press4 ,hayley1 in his ,life of ,cowper1 and the latter in the preface to his translation of ,homer1 and also in his published letters1 have given many testimonials of their opinion of ,fuseli1 not only as a ,greek scholar1 but for his taste and judgment in ,english poetry4 ,the former 7,hayley7 remarks1 ,it is a singular spectacle for those who love to contemplate the progress of social arts1 to observe a foreigner1 who has raised himself to high rank in the arduous profession of a painter1 correcting1 and thanked for correcting1 the chief poet of ,england1 in his ,english version of ,homer4 ,the following letters1 hitherto unpublished1 which ,i have obtained through the kindness of ,mr4 ,hunter1 one of the executors to the will of the late ,mr4 ,johnson1 are additional evidence how highly ,cowper estimated the assistance which he received from ,fuseli4 ,olney1 ,march #eth1 #aghf4 ,,sir1 ,i ought sooner to have acknowledged the receipt of ,mr4 ,fuseli's strictures2 and1 had ,i been at leisure to consult my own gratification1 should have done so4 ,the work will be greatly indebted to him2 and ,i cannot help adding1 though ,i believe ,i said it before1 that ,i account myself singularly happy in the advantages that ,i shall derive to my translation from his fine taste and accurate acquaintance with the original4 ,i much wish for an answer to my question concerning my subscribers' payments at ,bristol4 ,have you a correspondent there who can negotiate it8 ,again ,i remind you1 though perhaps unnecessarily1 of the second volume for ,richard ,howard1 ,esq4 ,i have this day sent to ,lady ,hesketh the remaining half of book #b1 and the whole of books #c1 #d1 and #e4 ,from her they will pass to ,general ,cowper1 and from him1 ,i suppose1 to ,mr4 ,fuseli1 in a short time4 ,in the interview which he had with that gentleman1 he was highly pleased with him4 ,i am1 ,sir1 ,your most humble servant1 ,william ,cowper4 ,mr4 ,joseph ,johnson4 ,olney1 ,march #hth1 #aghf4 ,,sir1 ,you are very happy in being so intimately connected with ,mr4 ,fuseli1 a gentleman of such exquisite taste and learning2 and ,i also account myself very happy1 that by your means my work has found its way into the hands of a person in all respects so perfectly well qualified to revise it4 ,i am only sorry1 that my distance from town permits me not 7at least for the present7 the pleasure of an introduction to one to whom ,i am to be so much indebted4 ,i very sincerely thank you for interesting yourself so much in my comfort1 as to write to me principally with a view to inform me of his approbation4 ,you may take my word for it1 that ,i find your intelligence on that head a great and effectual encouragement4 ,i have had some anxious thoughts upon the matter1 as you may suppose1 and they are guests ,i am always glad to dismiss when ,i can2 and immediately after reading your letter1 accordingly dismissed them4 ,mr4 ,fuseli will assuredly find room for animadversion4 ,there are some objectionable lines1 and others that are improvable1 of which ,i am myself aware4 ,when ,i receive the manuscript again1 ,i will give it a close examination1 both that ,i may avail myself of ,mr4 ,fuseli's remarks to the utmost1 and give to the whole of it the best finishing that ,i can4#ae 99 99 99 99 99 ,i am1 ,sir1 ,your most humble servant1 ,william ,cowper4 ,mr4 ,joseph ,johnson4 ,olney1 ,sept4 #b;d1 #aghf4 ,,sir1 99 99 99 99 99 ,present1 ,sir1 if you please1 my compliments to your friend ,mr4 ,fuseli1 and tell him1 that ,i shall be obliged to him if1 when he has finished the revisal of the #hth book1 he will be so good as to send it to ,general ,cowper's1 in ,charles ,street1 together with his strictures4 ,assure him1 likewise1 that ,i will endeavour1 by the closest attention to all the peculiarities of my original1 to save him as much trouble as ,i can hereafter4 ,i now perfectly understand what it is that he requires in a translation of ,homer2 and being convinced of the justness of his demands1 will attempt at least to conform to them4 ,some escapes will happen in so long a work1 which he will know how to account for and to pardon4 ,i have been employed a considerable time in the correction of the first seven books1 and have not yet begun the ninth2 but ,i shall in a day or two1 and will send it as soon as finished4 ,i am1 ,sir1 ,your most humble servant1 ,william ,cowper4 ,mr4 ,joseph ,johnson4 ,fuseli grew tired of the labour which he had imposed upon himself1 before the ,iliad was finished2 but yet he went through the task of correcting the translation of that poem until its conclusion4 ,the following extract of a letter to ,mr4 ,roscoe1 dated #beth ,november1 #aghi1 shows his feelings upon the subject3-- ,you are not surely serious when you desire to have your remarks on ,cowper's ,iliad burnt2 whatever they contain upon the specific turn of language is just2 many observations are acute1 most elegant3 though1 perhaps1 ,i cannot agree to all2 for instance1 the word rendered murky is not that which1 in other passages1 expresses the negative transparency of water3 it means1 ,i believe1 in the text1 a misty appearance3 this depended on a knowledge of the ,greek4 ,i heartily wish with you1 that ,cowper had trusted to his own legs1 instead of a pair of stilts1 to lift him to fame4 ,when ,cowper began the ,odyssey1 ,fuseli pleaded1 and1 as will be shown1 justly pleaded1 that his numerous avocations would not allow him time to correct the translation2 this the poet states1 and regrets the circumstance in his preface4 ,he however saw parts of the poem as it was passing through the press1 and made some observations thereon3 these are given in notes1 to which the initial letter ,f4 is affixed4 ,it is a singular fact that ,fuseli never saw ,cowper1 nor did he ever write to him or receive a letter from him2 all communications being carried on either through ,general ,cowper1 the relation of the poet1 or ,mr4 ,joseph ,johnson4 ,the late ,doctor ,geddes frequently visited at ,mr4 ,johnson's1 and often met ,fuseli there2 both1 from their natural temperament1 were impatient of contradiction1 and each had an opinion of his own powers1 and depreciated those of the other4 ,it was only to meet in order to dispute1 and the ready wit of ,fuseli usually raised the irritable temper of the doctor1 who1 when provoked1 would burst out of the room and walk once or twice round ,st4 ,paul's ,churchyard before he returned to the company2 to the great amusement of ,fuseli4 ,one day he indulged himself at ,johnson's table1 to plague ,geddes with uttering a string of truisms3 ,geddes at length became impatient1 and said1 ,i wonder that you1 ,mr4 ,fuseli1 who have so much ready wit1 should be uttering dogmas by the hour together4 ,fuseli immediately answered1 ,you1 ,doctor1 to find fault with dogmas1--you1 who are the son of a dog--ma4 ,the pause between the syllables instantly raised a tumult in the doctor's mind1 and he replied1 ,son of a b----h ,i suppose you mean2 and1 as usual1 left the room to cool himself by his accustomed round4 ,dr4 ,geddes had a great love for horticultural pursuits4 ,dilating one day on the evils of fanaticism1 ,fuseli stopped him1 by1 ,you1 ,doctor1 to speak against fanaticism1 when you are a fanatic4--,in what8 asked ,geddes impatiently4--,in raising cucumbers1 said the other4 ,when ,cowper's translation of ,homer appeared1 ,geddes1 who was a great admirer of ,pope1 was irritated beyond measure at the work1 but chiefly by the praises bestowed in the preface upon ,fuseli2 and he had not sufficient prudence even to hide what he felt1 but a detail of this will be given best in the words of his intimate friend1 admirer1 and biographer1 the late ,doctor ,i4 ,mason ,good4 ,pope was the idol of ,geddes1 and estimated by him as highly above ,cowper1 as ,cowper was above his contemporaries3 and he could not but look with a jealous eye upon any one who attempted to rival the poet of his heart4 ,geddes was disgusted with ,cowper from the very first page1 and in a fit of undue exasperation declared he would translate ,homer himself1 and show that it was possible to make as good versification1 while he preserved not only all the epithets and phraseologies of the original1 which ,mr4 ,cowper has not done1 but the very order itself4 ,yet what appears principally to have irritated him1 was ,mr4 ,cowper's declaration1 towards the close of his preface1 of acknowledgments 'to the learned and ingenious ,mr4 ,fuseli1' whom he styles in the same place 'the best critic in ,homer ,i have ever met with4' ,accident had frequently thrown ,dr4 ,geddes and ,mr4 ,fuseli into the same company1 and much learned dust had as frequently been excited between the two critical combatants1 not at all times to the amusement of the rest of the respective parties4 ,whatever opinion ,mr4 ,fuseli may have entertained of the powers of his antagonist1 it is certain that ,doctor ,geddes was not very deeply impressed with those of ,mr4 ,fuseli1 and that he scarcely allowed him the merit to which he is actually entitled4 ,when1 therefore1 he found in ,mr4 ,cowper's preface1 that instead of consulting the profound erudition and sterling authorities of ,stephens1 ,clarke1 ,ernesti1 and ,velloison1 he had turned to ,mr4 ,fuseli as his only oracle1 and had gloried in submitting to the whole of his corrections and emendations3 to his disappointment at the inadequacy of the version1 was added a contempt of the quarter to which he had fled for assistance4 ,geddes resolved to translate ,homer1 and in the beginning of #agib1 published a translation of the first book as a specimen4 ,in the preface he says1 ',i beg leave to assure my readers that neither ,fuseli nor any other profound critic in ,homer1 has given me the smallest assistance2 the whole merit or demerit of my version rests solely with myself4' ,the attempt failed1 and he never succeeded beyond the first book4 ,,chapter ,v4 ,subjects painted by ,fuseli for ,boydell's ,shakspeare ,gallery4--,his assistance towards the splendid ,edition of ,lavater's ,physiognomy4--,his picture for ,macklin's ,poets' ,gallery4--,his contributions to the ,analytical ,review4--,his critique on ,cowper's ,homer4 ,in the year #aghf1 ,mr4 ,alderman ,boydell1 at the suggestion of ,mr4 ,george ,nicol1 began to form his splendid collection of modern historical pictures1 the subjects being from ,shakspeare's plays1 and which was called ,the ,shakspeare ,gallery4 ,this liberal and well-timed speculation gave great energy to this branch of the art1 as well as employment to many of our best artists and engravers1 and among the former1 to ,fuseli1 who executed eight large and one small picture for the gallery4 ,the following were the subjects3 ,prospero1 ,miranda1 ,caliban1 and ,ariel--from the ,tempest4 ,titania in raptures with ,bottom1 who wears the ass's head1 attendant fairies1 c4 ,titania awaking1 discovers ,oberon at her side2 ,puck is removing the ass's head from ,bottom--,midsummer ,night's ,dream4 ,henry the ,vth with the ,conspirators--,king ,henry ,v4 ,lear dismissing ,cordelia from his ,court--,king ,lear4 ,ghost of ,hamlet's ,father--,hamlet4 ,falstaff and ,doll--,king ,henry ,,iv4 #b;d part4 ,macbeth meeting the ,witches on the ,heath--,macbeth4 ,robin ,goodfellow--,midsummer ,night's ,dream4--,this gallery gave the public an opportunity of judging of ,fuseli's versatile powers4 ,the stately majesty of the ghost of ,hamlet's father1 contrasted with the expressive energy of his son1 and the sublimity brought about by the light1 shadow1 and general tone1 strike the mind with awe4 ,in the picture of ,lear is admirably pourtrayed the stubborn rashness of the father1 the filial piety of the discarded daughter1 and the wicked determination of ,regan and ,goneril4 ,the fairy scenes in the ,midsummer ,night's ,dream amuse the fancy1 and show the vast inventive powers of the painter3 and ,falstaff with ,doll is exquisitely ludicrous4 ,the example set by ,boydell was a stimulus to other speculations of a similar nature1 and within a few years appeared the ,macklin and ,woodmason galleries2 and it may be said with great truth1 that ,fuseli's pictures were among the most striking1 if not the best in either collection4 ,the splendid edition of ,lavater's physiognomy was announced this year 7#aghf7 for publication4 ,fuseli wrote the preface1 or1 as he modestly called it1 the advertisement2 corrected the translation by ,hunter2 made several drawings to illustrate the work2 and superintended the execution of the engravings4 ,lavater had prepared many of his drawings1 illustrative of the system1 on a folio size1 wishing the treatise to be brought out in that form2 and it was his desire1 that his lines should be rather traced than imitated by the engraver4 ,fuseli entered into an animated correspondence on this subject2 gave him to understand1 that the quarto size best pleased the ,british public2 and expressed his own decided opinion against ponderous folios4 ,he at length succeeded in getting ,lavater's slow consent to the work appearing in quarto2 but so particular was the author as to a proper exemplification1 that he made his drawings anew to suit the quarto size4 ,in #aghg1 he painted a picture for ,macklin's ,poet's ,gallery1 the ,vision of ,prince ,arthur4 ,in ,may #aghh1 the ,analytical ,review was commenced by ,mr4 ,johnson1 and he entered into engagements with most of the authors whose works he published1 to write criticisms for it4 ,fuseli1 of course1 was among the number2 and he wrote1 during the progress of that work1 which continued until ,december #agih1 upwards of eighty articles1 some of which were long and laboured criticisms1 while others were only brief notices of the contents of the books4 ,as his knowledge was general and extensive1 so he was employed in several departments of literature1 and reviewed works on the classics1 history1 the belles lettres1 physiology1 geography1 and the fine arts4 ,fuseli not only took an interest in his own criticisms in this ,review1 but frequently defended those of others4 ,when the authenticity of the ,parian ,chronicle was doubted by the ,rev4 ,joseph ,robertson1 in a work which he published1 it was reviewed and confuted by the ,rev4 ,john ,hewlett4 ,robertson replied to this very angrily2 and on ,mr4 ,hewlett's being urged1 in the hearing of ,fuseli1 not to let this reply pass without observation1 he immediately said1 ,answer it6 no1 by ,g----d1 the subject is as dead as hell3 a lion does not feed upon carrion4 ,the following criticisms on ,cowper's ,homer1 and ,roscoe's ,lorenzo de' ,medici1 will give some idea of his powers in this department of literature4 ,,cowper',s ,,homer4 ,translators of poetry may be arranged into two classes3 those who1 without invention1 but an ardent ambition for its honours1 with powers of embellishment1 harmony of diction1 and elegance of taste1 attempt to graft their own scions on a solid stem2 and those who1 from real or imagined sympathy with the production of another1 unable to perceive excellence through any other medium but that of their idol1 renounce all individual consequence1 swear to his words1 and rank themselves under his banner4 ,the first sacrifice their model to themselves and their age2 the second sacrifice both to their darling original4 ,of both kinds of translation1 the muses of this country have produced specimens3 ,mr4 ,pope ranks foremost in the former2 whether that of ,mr4 ,cowper claims the same eminence in the latter class1 we are now to inquire4 ,though the ultimate end of poetry be to please1 and the best include both instruction and pleasure at once1 it will easily be perceived that the laws which are to rule two species of translation so different1 cannot be the same4 ,the laws which the first imposes1 are of its own creation and choice2 the laws of the second resemble somewhat those which a master prescribes to his servant2--they have little to gratify vanity1 they are related to resignation1--they are fidelity and simplicity1 with as much harmony and vivacity as is compatible with both2 for the translator of ,homer1 indeed1 the difficulty will not be--how much he shall sacrifice of these two last requisites1 but how much he shall be able to obtain1 or to preserve4 ,by fidelity1 some will understand the mere substitution of one language for another1 with the entire sacrifice of idiom and metre1 which belongs only to the literal translation of school-books4 ,fidelity1 as ,mr4 ,c4 himself has with equal happiness and precision defined it in his preface1 is that quality which neither omits nor adds any thing to an author's stock4 ,i have invented nothing1' says he2 ,i have omitted nothing4 ,when we consider the magnificent end of epic poetry1--to write for all times and all races1--to treat of what will always exist and always be understood1 the puny laws of local decorum and fluctuating fashions by which the omission or modification of certain habits and customs1 natural but obsolete1 is prescribed1 cannot come into consideration4 ,such laws may bind the meaner race of writers4 ,he who translates ,homer knows1 that when ,patroclus administers at table1 or ,achilles slays the sheep himself for ,priam1 a chief and a prince honour the chieftains and king who visit them1 and disdain to leave to meaner hands these pledges of hospitality2 and he translates faithfully and minutely1 nor fears that any will sneer at such a custom1 but those who sneer at the principle that established it4 ,he neither attempts to soften or refine away the energy of passages relative to the theology of primitive ages1 or fraught with allegoric images of the phenomena of nature1 though they might provoke the smile of the effeminate1 and of the sophists of his day4 ,this is the first and most essential part of the fidelity prescribed to a translator2 and this ,mr4 ,c4 has so far scrupulously observed1 that he must be allowed to have given us more of ,homer1 and added less of his own1 than all his predecessors2 and this he has done with that simplicity1 that purity of manner1 which we consider as the second requisite of translation4 ,by simplicity1 we mean1 what flows from the heart2 and there is no instance of any translator known to us1 who has so entirely transfused the primitive spirit of an ancient work into a modern language2 whose own individual habits and bent1 if we may be allowed the expression1 seem to be so totally annihilated1 or to have coalesced so imperceptibly with his model4 ,he is so lost in the contemplation of his author's narrative1 that1 in reading1 we no more think of him than we do of ,homer1 when he hurls us along by the torrent of his plan3 no quaintness1 no antithesis1 no epigrammatic flourish1 beckons our attention from its track1 bids us admire or rather indignantly spurn the intruding dexterity of the writer4 ,to have leisure to think of the author when we read1 or of the artist when we behold1 proves that the work of either is of an inferior class3 we have neither time to inquire after ,homer's birth-place or rank1 when ,andromache departs from her husband1 nor stoop to look for the inscription of the artist's name1 when we stand before the ,apollo4 ,considering next the harmony of numbers prescribed to the translator of a poet1 ,mr4 ,c4 himself allows that he has many a line 'with an ugly hitch in its gait2' and perhaps to those he acknowledges as such1 and the copious list of others called forth in battle array against him1 no trifling file of equally feeble1 harsh1 or halting ones might be added4 ,still we do not hesitate to give it as our opinion1 founded on a careful perusal of the whole1 that the style and the flow of his numbers are in general consonance with the spirit of the poem4 ,in particular lines1 he may be inferior to many2 we even venture to say1 that he has as often adopted or imitated the discords of ,milton1 as his flow of verse4 ,the ,english ,jupiter perhaps shakes his ambrosial curls not with the full majesty of the ,greek2 the plaintive tones of ,andromache do not perhaps melt1 or the reverberated bursts of ,hector's voice break1 on our ear with their native melody or strength2 the stone of modern ,sisyphus oppresses not with equal weight1 or rebounds with equal rapidity as that of old2 the hoarseness of ,northern language bound in pebbly monosyllables1 and almost always destitute of decided quantities1 must frequently baffle the most vigorous attempt1 if even no allowance were made for the terror that invests a celebrated passage1 and dashes the courage of the translator with anxiety and fear4 ,still1 if ,mr4 ,c4 be not always equally successful in the detail1 his work possesses that harmony which consists in the variety of well-poised periods1--periods that may be pursued without satiety1 and dismiss the ear uncloyed by that monotony which attends the roundest and most fortunate rhyme1 the rhyme of ,dryden himself4 ,the chief trespass of our translator's style1--and it will be found to imply a trespass against his fidelity and simplicity1--is no doubt the intemperate use of inversion1 ungraceful in itself1 contrary to the idiom of his language1 and1 what is still worse1 subversive of perspicuity1 than which no quality distinguishes ,homer more from all other writers3 for ,homer1 though fraught with every element of wisdom1 even in the opinion of a critic#af to no heresy more adverse than that of acknowledging faultless merit1 whether ancient or modern1--,homer1 with all this fund of useful doctrine1 remains to this day the most perspicuous of poets1 the writer least perplexed with ambiguity of style4 ,his tale is so clearly told1 that even now1 as of yore1 he is or may be the companion of every age1 and almost every capacity1 at almost every hour4 ,this perspicuity is perhaps not to be attained by the scantiness of modern grammar2 it is perhaps not to be fully expected from the inferior powers of the most attentive translator1 wearied with labour1 and fancying that to be clear to others which is luminous to him3 but this we cannot allow to be pleaded every where in excuse of our translator's ambiguities1 after the ample testimony he bore in his preface to the perspicuity of his author4 ,such palliation1 indeed1 will not be offered by him who tells us1 that not one line before us escaped his attention4 ,we decline entering into particulars on this head1 partly because ,mr4 ,c4 cannot be ignorant of the passages alluded to1 partly because sufficient1 and even exuberant1 pains have been taken by others to point them out to the public4 ,but if the translator often deviate from his model in so essential a requisite1 he scrupulously adheres to another of much less consequence1--the observance of those customary epithets with which ,homer distinguishes his gods and heroes from each other4 ,as most of these are frequently no more than harmonious expletives of the verse1 often serve only as a ceremonious introduction to his speakers1 we are of opinion1 that he might at least have sometimes varied them with advantage to his verse1 and for the greater gratification of his reader4 ,he who thought it a venial licence to deviate in the first line of his work from the text1 who cries--'woe to the land of dwarfs1'#ag--who makes his hero often 'the swiftest of the swift1' tinges the locks of ,menelaus with 'amber1' and varies ,eumus from plain swineherd to 'the illustrious steward or noble pastor of the sties1' he surely might have saved us from the 'archer-god1' 'the cloud-assembler ,jove1' the 'city-spoiler chief1' the 'cloud-assembler deity1' c4 c4 c4 or1 in mercy to our debauched ears1 have meditated combinations more consonant to verse and language4 ,their casual omission would not have proved a greater infidelity than that which made him disregard names and epithets1 expressly repeated in the original1 of which that of ,asius the ,hyrtacide in the catalogue#ah is a striking instance4 ,homer is ample1 and the translator studies to be so1 and generally with success2 but ,homer is likewise concise1 where ,mr4 ,c4 is often verbose1 and where1 by more careful meditation1 or more frequent turning of line and period1 he might have approached his master4 ,homer finishes2 but1 like ,nature1 without losing the whole in the parts4 ,the observations which the translator offers on this in the ,preface we are tempted to transcribe4 ,pref4 p4 xv4 ,the passages which will be least noticed1 and possibly not at all1 except by those who shall wish to find me at a fault1 are those which have cost me abundantly the most labour4 ,it is difficult to kill a sheep with dignity in a modern language1 to flay and to prepare it for the table1 detailing every circumstance of the process4 ,difficult also1 without sinking below the level of poetry1 to harness mules to a waggon1 particularizing every article of their furniture1 straps1 rings1 staples1 and even the tying of the knots that kept all together4 ,homer1 who writes always to the eye1 with all his sublimity and grandeur1 has the minuteness of a ,flemish painter4 ,to this remark1 founded on truth1 we could have wished ,mr4 ,c4 had added the reason why ,homer contrived to be minute without being tedious1--to appear finished without growing languid1--to accumulate details without losing the whole2 defects which have invariably attended the descriptions of his finished followers1 from ,virgil and ,apollonius1 down to ,ariosto1 and from him to the poets of our days1 ,milton alone excepted4 ,it is1 because he never suffered the descriptions that branched out of his subject to become too heavy for the trunk that supported them2 because he never admitted any image calculated to reflect more honour on his knowledge than on his judgment2 because he did not seek1 but find1 not serve1 but rule detail1 absorbed by his great end2 and chiefly1 because he1 and he alone1 contrived to create the image he described1 limb by limb1 part by part1 before our eyes1 connecting it with his plot1 and making it the offspring of action and time1 the two great mediums of poetry4 ,the chariot of ,juno is to be described3#ai it is not brought forth as from a repository1 tamely to wait before the celestial portico1 and subjected to finical examination1 the action all the while dormant3 on the spur of the moment1 ,hebe is ordered to put its various parts together before our eyes2 the goddess arranges her coursers1 mounts1 shakes the golden reins1 and flies off with ,minerva1 and our anticipating expectation1 to the battle4 ,agamemnon is to appear in panoply3#bj we are not introduced to enumerate greaves1 helmet1 sword1 belt1 corslet1 spear2 they become important by the action only that applies them to the hero's limbs4 ,we are admitted to the toilet of ,juno3#ba no idle talage of ornaments ready laid out1 of boxes1 capsules1 and cosmetics2 the ringlets rise under her fingers1 the pendants wave in her ears1 the zone embraces her breast1 perfumes rise in clouds round her body1 her vest is animated with charms4 ,achilles is to be the great object of our attention3 his shield a wonder3#bb heaven1 earth1 sea1 gods1 and men1 are to occupy its orb2 yet1 even here he deviates not from his great rule1 we see its august texture rise beneath the hammer of ,vulcan1 and the action proceeds with the strokes of the celestial artist4 ,where description must have stagnated or suspended action1 it is confined to a word1 'the sable ship1' 'the hollow ship2' or despatched with a compound1 'the red-prowed ship1' 'the shadow-stretching spear4' ,if the instrument be too important to be passed over lightly1 he1 with a dexterity next to miraculous1 makes it contribute to raise the character of the owner4 ,the bow of ,pandarus is traced#bc to the enormous horns of the mountain ram1 and its acquisition proves the sly intrepidity of the archer1 who bends it now4 ,the sceptre of ,agamemnon#bd becomes the pedigree of its wearer3 it is the elaborate work of ,vulcan for ,jupiter1 his gift to ,hermes1 his present to ,pelops1 the inheritance of ,atreus1 the shepherd-staff of ,thyestes1 the badge of command for ,agamemnon4 ,thus ,homer describes2 this is the mystery1 without which the most exquisite description becomes an excrescence1 and only clogs and wearies the indignant and disappointed reader4 ,poetic imitation1 we repeat it1 is progressive1 and less occupied with the surface of the object than its action2 hence all comparisons between the poet's and the painter's manners1 ought to be made with an eye to the respective end and limits of either art3 nor can these observations be deemed superfluous1 except by those who are most in want of them1 the descriptive tribe1 who imagine they paint what they only perplex1 and fondly dream of enriching the realms of fancy by silly excursions into the province of the florist1 chemist1 or painter of still life4 ,proceeding now to lay before the reader specimens of the translation itself1 we shall select passages which1 by their contrast1 may enable him to estimate the variety of our author's powers1 to poise his blemishes and beauties1 and to form an idea of what he is to expect from a perusal of the whole4 ,to exhibit only the splendid1 would have been insidious2 it would have been unfair to expose languor alone2--we have pursued a middle course2 and when he has consulted the volumes themselves1 the reader1 we trust1 will pronounce us equally impartial to the author and himself4 ,juno1 entering her apartment to array herself for her visit to ,jupiter on ,gargarus1 is thus described--,iliad1 ,b4 ,,xiv4 p4 #cfe4 ,she sought her chamber2 ,vulcan1 her own son1 ,that chamber built4 ,he framed the solid doors1 ,and to the posts fast closed them with a key ,mysterious1 which1 herself except1 in heav'n ,none understood4 ,entering1 she secured ,the splendid portal4 ,first1 she laved all o'er ,her beauteous body with ambrosial lymph1 ,then1 polish'd it with richest oil divine ,of boundless fragrance2 oil that1 in the courts ,eternal only shaken1 through the skies ,breathed odours1 and through all the distant earth4 ,her whole fair body with those sweets bedew'd1 ,she pass'd the comb through her ambrosial hair1 ,and braided her bright locks1 streaming profuse ,from her immortal brows2 with golden studs ,she made her gorgeous mantle fast before1 ,ethereal texture1 labour of the hands ,of ,pallas1 beautified with various art1 ,and braced it with a zone fringed all round ,an hundred fold2 her pendents triple-gemm'd ,luminous1 graceful1 in her ears she hung1 ,and cov'ring all her glories with a veil1 ,sun-bright1 new-woven1 bound to her fair feet ,her sandals elegant4 ,thus1 full attired ,in all her ornaments1 she issued forth1 ,and beck'ning ,venus from the other pow'rs ,of ,heav'n apart1 the ,goddess thus bespake3 ',daughter1 beloved6 ,shall ,i obtain my suit8 ,or wilt thou thwart me1 angry that ,i aid ,the ,grecians1 while thine aid is given to ,troy8' ,to whom ,jove's daughter1 ,venus1 thus replied4 ',what would majestic ,juno1 daughter dread ,of ,saturn1 sire of ,jove8 ,i feel a mind ,disposed to gratify thee1 if thou ask ,things possible1 and possible to me4' ,then thus1 with wiles veiling her deep design1 ,imperial ,juno4 ',give me those desires1 ,that love-enkindling power by which thou sway'st ,immortal hearts1 and mortal1 all alike4 ,for to the green ,earth's utmost bounds ,i go1 ,to visit there the parent of the ,gods1 ,oceanus1 and ,tethys his espoused1 ,mother of all4 ,they kindly from the hands ,of ,rhea took1 and with parental care ,sustain'd and cherish'd me1 what time from heav'n ,the ,thund'rer howl'd down ,saturn1 and beneath ,the earth fast bound him and the barren ,deep4 ,them1 go ,i now to visit1 and their feuds ,innumerable to compose2 for long ,they have from conjugal embrace abstain'd ,through mutual wrath2 whom by persuasive speech ,might ,i restore into each other's arms1 ,they would for ever love me and revere4 ,her1 foam-born ,venus then1 ,goddess of smiles1 ,thus answer'd4 ',thy request1 who in the arms ,of ,jove reposest the ,omnipotent1 ,nor just it were1 nor seemly1 to refuse4' ,so saying1 the cincture from her breast she loos'd ,embroider'd1 various1 her all-charming zone4 ,it was an ambush of sweet snares1 replete ,with love1 desire1 soft intercourse of hearts1 ,and music of resistless whisper'd sounds ,that from the wisest steal their best resolves2 ,she placed it in her hands and thus she said4 ',take this--this girdle fraught with ev'ry charm4 ,hide this within thy bosom1 and return1 ,whate'er thy purpose1 mistress of it all4' ,she spake2 imperial ,juno smiled1 and still ,smiling complacent1 bosom'd safe the zone4 ,euphorbus falls thus under the spear of ,menelaus3 ,iliad1 ,b4 ,,xvii4 p4 #deb4 v4 #fj4 ,sounding he fell2 loud rang his batter'd arms4 ,his locks1 which even the ,graces might have own'd1 ,blood-sullied1 and his ringlets wound about ,with twine of gold and silver1 swept the dust4 ,as the luxuriant olive1 by a swain ,rear'd in some solitude where rills abound1 ,puts forth her buds1 and1 fann'd by genial airs ,on all sides1 hangs her boughs with whitest flow'rs1 ,but by a sudden whirlwind from its trench ,uptorn1 it lies extended on the field1 ,such1 ,panthus' warlike son1 ,euphorbus seem'd1 ,by ,menelaus1 son of ,atreus1 slain ,suddenly1 and of all his arms despoil'd4 ,but as the lion on the mountains bred1 ,glorious in strength1 when he hath seiz'd the best ,and fairest of the herd1 with savage fangs ,first breaks her neck1 then laps the bloody paunch ,torn wide2 meantime1 around him1 but remote1 ,dogs stand and swains clamouring1 yet by fear ,repress'd1 annoy him not or dare approach2 ,so there1 all wanted courage to oppose ,the force of ,menelaus1 glorious chief4 ,the beauty of this passage will no doubt prompt ,mr4 ,c4 to revise the words descriptive of the olive's gender4 ,he cannot possibly have had an eye to the passage in the ,x,ith ,b4 of the ,odyssey1 relating to the spirit of ,tiresias2 the licence there1 and the beauty obtained by it1 are founded on very different principles4 ,with the following ample scene between ,achilles1 ,lycaon1 and ,asteropus1 we conclude our extracts from the ,iliad1 ,b4 ,,xxi4 p4 #eec4 v4 #aai4 ,such supplication the illustrious son ,of ,priam made1 but answer harsh received4 ',fool6 speak'st of ransom8 ,name it not to me4 ,for till my friend his miserable fate ,accomplish'd1 ,i was somewhat giv'n to spare1 ,and num'rous2 whom ,i seized alive1 ,i sold2 ,but now1 of all the ,trojans whom the ,gods ,deliver to me1 none shall death escape1 ',specially of the house of ,priam1 none4 ,die1 therefore1 even thou1 my friend6 ,what mean ,thy tears1 unreasonably shed1 and vain8 ,died not ,patroclus1 braver far than thou8 ,and look on me--see'st not to what an height ,my stature tow'rs1 and what a bulk ,i boast8 ,a king begat me1 and a ,goddess bore4 ,what then6 ,a death by violence awaits ,me also1 and at morn1 or eve1 or noon ,i perish1 whensoe'er the destin'd spear ,shall reach me1 or the arrow from the nerve4' ,he ceased1 and where the suppliant kneel1 he died4 ,quitting the spear1 with both hands spread abroad ,he sat2 but swift ,achilles with his sword ',twixt neck and key-bone smote him1 and his blade ,of double edge sank all into the wound4 ,he prone extended on the champion lay1 ,bedewing with his sable blood the glebe1 ',till1 by the foot1 ,achilles cast him far ,into the stream1 and as he floated down1 ,thus in wing'd accents1 glorying exclaim'd4 ',lie there1 and feed the fishes1 which shall lick ,thy blood secure4 ,thy mother ne'er shall place ,thee on thy bier1 nor on thy body weep1 ,but swift ,scamander on his giddy tide ,shall bear thee to the bosom of the sea4 ,there1 many a fish shall through the crystal flood ,ascending to the rippled surface1 find ,lycaon's pamper'd flesh delicious fare4 ,die ,trojans6 till we reach your city1 you ,fleeing1 and slaughtering1 ,i4 ,this pleasant stream ,of dimpling silver1 which ye worship oft ,with victim bulls1 and sate with living steeds ,his rapid whirlpools1 shall avail you nought1 ,but ye shall die1 die terribly till all ,shall have requited me with just amends ,for my ,patroclus1 and for other ,greeks ,slain at the ships1 while ,i declined the war4' ,he ended1 at whose words still more incensed ,scamander means devised1 thenceforth1 to check ,achilles1 and avert the doom of ,troy4 ,meantime the son of ,peleus1 his huge spear ,grasping1 assail'd ,asteropus1 son ,of ,pelegon1 on fire to take his life4 ,fair ,periboea1 daughter eldest-born ,of ,acessamenus1 his father bore ,to broad-stream'd ,axius1 who had clasp'd the nymph ,in his embrace4 ,on him ,achilles sprang4 ,he1 newly risen from the river1 stood ,arm'd with two lances opposite1 for him ,xanthus embolden'd1 at the deaths incensed ,of many a youth whom1 mercy none vouchsafed1 ,achilles had in all his current slain4 ,and now1 small distance interposed1 they faced ,each other1 when ,achilles thus began4 ',who art and whence1 who dar'st encounter me8 ,hapless1 the sires whose sons my force defy4' ,to whom the noble son of ,pelegon1 ,pelides1 mighty chief4 ',why hast thou ask'd ,my derivation8 ,from the land ,i come ,of mellow-soil'd ,ponia1 far remote1 ,chief-leader of ,ponia's host spear-arm'd2 ,this day hath also the eleventh ris'n ,since ,i at ,troy arriv'd4 ,for my descent1 ,it is from ,axius' river1 wide-diffused1 ,from ,axius1 fairest stream that waters earth1 ,sire of bold ,pelegon1 whom men report ,my sire4 ,let this suffice4 ,now fight1 ,achilles6' ,so spake he threat'ning1 and ,achilles rais'd ,dauntless the ,pelian ash4 ,at once two spears ,the hero bold1 ,asteropus threw1 ,with both hands apt for battle4 ,one his shield ,struck but pierced not1 impeded by the gold1 ,gift of a ,god2 the other as it flew ,grazed his right elbow2 sprang the sable blood2 ,but1 overflying him1 the spear in earth ,stood planted deep1 still hung'ring for the prey4 ,then1 full at the ,ponian ,peleus' son ,hurl'd forth his weapon with unsparing force1 ,but vain2 he struck the sloping river-bank1 ,and mid-length deep stood plunged the ashen beam4 ,then1 with his faulchion drawn1 ,achilles flew ,to smite him2 he in vain1 meantime1 essay'd ,to pluck the rooted spear forth from the bank2 ,thrice with full force he shook the beam1 and thrice1 ,although reluctant1 left it2 at his fourth ,last effort1 bending it1 he sought to break ,the ashen spear-beam of acides1 ,but perish'd by his keen-edg'd faulchion first2 ,for on the belly1 at his navel's side1 ,he smote him2 to the ground effused fell all ,his bowels1 ,death's dim shadows veil'd his eyes1 ,achilles ardent on his bosom fix'd ,his foot1 despoil'd him1 and exulting cried4 ',lie there2 though river-sprung thou find'st it hard ,to cope with sons of ,jove omnipotent4 ,thou said'st1 a mighty river is my sire-- ,but my descent from mightier ,jove ,i boast2 ,my father1 whom the myrmidons obey1 ,is son of acus1 and he1 of ,jove4 ,as ,jove all streams excels that seek the sea1 ,so1 ,jove's descendants nobler are than theirs4 ,behold a ,river at thy side--,let ,him ,afford thee1 if he can1 some succour--,no1 ,he may not fight against ,saturnian ,jove4 ,therefore1 not kingly ,achelous1 ,nor yet the strength of ,ocean's vast profound1 ,although from him all rivers and all seas1 ,all fountains1 and all wells proceed1 may boast ,comparison with ,jove1 but even ,he ,astonish'd trembles at his fiery bolt1 ,and his dread thunders rattling in the sky4 ,on opening the ,odyssey1 we present the reader with the interview of ,ulysses and his mother in the ,shades1 and the description of ,tyro's amour with ,neptune4--,odyss4 ,b4 ,,xi4 p4 #bed4 ,she said2 ,i ardent wish'd to clasp the shade ,of my departed mother2 thrice ,i sprang ,toward her1 by desire impetuous urged1 ,and thrice she flitted from between my arms1 ,light as a passing shadow or a dream4 ,then1 pierced by keener grief1 in accents wing'd ,with filial earnestness1 ,i thus replied3-- ',my mother1 why elud'st thou my attempt ,to clasp thee1 that ev'n here1 in ,pluto's realm1 ,we might to full satiety indulge ,our grief1 enfolded in each other's arms8 ,hath ,proserpine1 alas6 only dispatch'd ,a shadow to me1 to augment my woe8' ,then1 instant1 thus the venerable form4 ',ah1 son6 thou most afflicted of mankind6 ,on thee1 ,jove's daughter1 ,proserpine1 obtrudes ,no airy semblance vain2 but such the state ,and nature is of mortals once deceased4 ,for they nor muscle have1 nor flesh1 nor bone2 ,all those1 7the spirit from the body once ,divorced7 the violence of fire consumes1 ,and1 like a dream1 the soul flies swift away4 ,but haste thou back to light1 and1 taught thyself ,these sacred truths1 hereafter teach thy spouse4' ,thus mutual we conferr'd4 ,then1 thither came1 ,encouraged forth by royal ,proserpine1 ,shades female num'rous1 all who consorts1 erst1 ,or daughters were of mighty chiefs renown'd4 ,about the sable blood frequent they swarm'd1 ,but ,i consid'ring sat1 how ,i might each ,interrogate1 and thus resolv'd4 ,my sword ,forth drawing from beside my sturdy thigh1 ,firm ,i prohibited the ghosts to drink ,the blood together2 they successive came2 ,each told her own distress2 ,i question'd all4 ,there1 first1 the high-born ,tyro ,i beheld2 ,she claim'd ,salmoneus as her sire1 and wife ,was once of ,cretheus1 son of olus1 ,enamour'd of ,enipeus1 stream divine4 ,loveliest of all that water earth1 beside ,his limpid current she was wont to stray1 ,when ,ocean's ,god 7,enipeus' form assumed7 ,within the eddy-whirling river's mouth ,embraced her2 there1 while the o'er-arching flood1 ,uplifted mountainous1 conceal'd the ,god ,and his fair human bride1 her virgin zone ,he loos'd1 and o'er her eyes sweet sleep diffused4 ,his am'rous purpose satisfied1 he grasp'd ,her hand1 affectionate1 and thus he said4 ',rejoice in this1 my love1 and when the year ,shall tend to consummation of its course1 ,thou shalt produce illustrious twins1 for love ,immortal never is unfruitful love4 ,rear them with all a mother's care2 meantime1 ,hence to thy home4 ,be silent4 ,name it not1 ,for ,i am ,neptune1 shaker of the shores4' ,so saying1 he plunged into the billowy deep4 ,she1 pregnant grown1 ,pelias and ,neleus bore1 ,both valiant ministers of mighty ,jove4 ,the visit of ,hermes to ,calypso and her abode1 are thus described4--,odyss4 ,b4 ,v4 p4 #aaj4 ,he ended1 nor the ,argicide refused1 ,messenger of the skies2 his sandals fair1 ,ambrosial1 golden1 to his feet he bound1 ,which o'er the moist wave1 rapid as the wind1 ,bear him1 and o'er th' illimitable earth1 ,then took his rod1 with which1 at will1 all eyes ,he closes soft1 or opes them wide again4 ,so arm'd1 forth flew the valiant ,argicide4 ,alighting on ,pieria1 down he stoop'd ,to ocean1 and the billows lightly skimm'd ,in form a sea-mew1 such as in the bays ,tremendous of the barren deep her food ,seeking dips oft in brine her ample wing4 ,in such disguise1 o'er many a wave he rode1 ,but reaching1 now1 that isle remote1 forsook ,the azure deep1 and at the spacious grot ,where dwelt the amber-tressed nymph arrived1 ,found her within4 ,a fire on all the hearth ,blazed sprightly1 and1 afar-diffused1 the scent ,of smooth split cedar and of cyprus-wood4 ,odorous1 burning1 cheer'd the happy isle4 ,she1 busied at the loom1 and plying fast ,her golden shuttle1 with melodious voice ,sat chaunting there2 a grove on either side1 ,alder and poplar1 and the redolent branch ,wide-spread of cypress1 skirted dark the cave4 ,there many a bird of broadest pinion built ,secure her nest1 the owl1 the kite1 and daw ,long-tongued1 frequenter of the sandy shores4 ,a garden-vine luxuriant on all sides ,mantled the spacious cavern1 cluster-hung ,profuse2 four fountains of serenest lymph ,their sinuous course pursuing side by side1 ,stray'd all around1 and ev'ry where appear'd ,meadows of softest verdure1 purpled o'er ,with violets2 it was a scene to fill ,a ,god from heav'n with wonder and delight4 ,hermes1 heav'n's messenger1 admiring stood ,that sight1 and having all survey'd1 at length ,enter'd the grotto2 nor the lovely nymph ,him knew not soon as seen1 for not unknown ,each to the other the immortals are1 ,how far soever sep'rate their abodes4 ,yet found he not within the mighty chief ,ulysses2 he sat weeping on the shore1 ,forlorn1 for there his custom was with groans ,of sad regret t' afflict his breaking heart1 ,looking continual o'er the barren deep4 ,then thus ,calypso1 nymph divine1 the ,god ,question'd from her resplendent throne august4 ,with the subsequent passage of ,ulysses' stratagem in the cave of ,polypheme1 we shall dismiss the ,odyssey1 and add a few observations4--,odyss4 ,b4 ,,ix4 p4 #bjg4 ',cyclops6 thou hast my noble name inquired1 ,which ,i will tell thee4 ,give me1 in return1 ,the promised boon1 some hospitable pledge4 ,my name is#be ,outis2 ,outis ,i am call'd1 ,at home1 abroad1 wherever ,i am known4' ,so ,i2 to whom he1 savage1 thus replied3 ',outis1 when ,i have eaten all his friends1 ,shall be my last regale4 ,be that thy boon4' ,he spake1 and1 downward sway'd1 fell resupine1 ,with his huge neck aslant4 ,all conqu'ring sleep ,soon seized him4 ,from his gullet gush'd the wine ,with human morsels mingled1 many a blast ,sonorous issuing from his glutted maw4 ,then1 thrusting far the spike of olive-wood ,into the embers glowing on the hearth1 ,i heated it1 and cheer'd my friends the while1 ,lest any should1 through fear1 shrink from his part4 ,but when that stake of olive-wood1 though green1 ,should soon have flamed1 for it was glowing hot1 ,i bore it to his side4 ,then all my aids ,around me gather'd1 and the ,gods infused ,heroic fortitude into our hearts4 ,they1 seizing the hot stake rasp'd to a point1 ,bored his eye with it1 and myself1 advanced ,to a superior stand1 twirl'd it about4 ,as when a shipwright with his wimble bores ,tough oaken timber1 placed on either side ,below1 his fellow artists strain the thong ,alternate1 and the restless iron spins2 ,so grasping hard the stake pointed with fire1 ,we twirl'd it in his eye2 the bubbling blood ,boil'd round about the brand2 his pupil sent ,a scalding vapour forth that singed his brow1 ,and all his eye-roots crackled in the flame4 ,as when the smith an hatchet or large axe ,temp'ring with skill1 plunges the hissing blade ,deep in cold water1 7whence the strength of steel17 ,so hiss'd his eye around the olive-wood4 ,the howling monster with his outcry fill'd ,the hollow rock1 and ,i1 with all my aids1 ,fled terrified4 ,he1 plucking forth the spike ,from his burnt socket1 mad with anguish1 cast ,the implement1 all bloody1 far away4 ,then1 bellowing1 he sounded forth the name ,of ev'ry ,cyclops dwelling in the caves ,around him1 on the wind-swept mountain tops2 ,they1 at his cry flocking from ev'ry part1 ,circled his den1 and of his ail enquired4 ',what grievous hurt hath caused thee1 ,polypheme6 ,thus yelling1 to alarm the peaceful ear ,of ,night1 and break our slumbers8 ,fear'st thou lest ,some mortal man drive off thy flocks8 or fear'st ,thyself to die by cunning or by force8' ,them answer'd1 then1 ,polypheme from his cave1 ',oh1 friends6 ,i die1 and ,outis gives the blow4' ,to whom with accents wing'd his friends without4 ',if no#bf man harm thee1 but thou art alone1 ,and sickness feel'st1 it is the stroke of ,jove1 ,and thou must bear it2 yet invoke for aid ,thy father ,neptune1 sov'reign of the floods4' ,so saying1 they went1 and in my heart ,i laugh'd2 ,that by the fiction only of a name1 ,slight stratagem6 ,i had deceived them all4 ,if translation be chiefly written for those who cannot read the original1 it is1 we apprehend1 self-evident1 that ,polypheme's charging ,outis with an attempt on his life1 and the departure of his associates in consequence of this information1 must remain a problem to those who do not understand the ,greek4 ,to them1 ,outis is the name of somebody1 and why that should pacify the giants who came to assist the ,cyclops1 appears unsatisfactory1 if not inconceivable4 ,clarke1 when he adduces the passage from the ,acta ,eruditorum1 which censures ,gyphanius for having translated ,outis1 nemo1 would have done well if he had adduced other reasons in support of his opinion 7if indeed he coincided in opinion with that passage7 than grammatical futilities4 ,the separation of ou-de can be no reason why the brethren of ,polypheme should depart2 his destruction remained a call equally urgent for their assistance1 whether it was carrying on by fraud or force4 ,in ,homer1 whenever a man is asked after his name1 he replies1 they call me so1 or my mother has given me such a name2 and this is always in the accusative4 ,ulysses1 to deceive ,polypheme1 consults probability1 and the customary reply to a question after a name1 and therefore calls him ,outin1 not ,outina1 to escape the suspicion of the ,cyclops2 but well surmised1 or ,homer at least for him1 that his enemy would pronounce his name in the nominative1 if he should be asked who was his destroyer4 ,if the deception be puerile1 it is to be considered1 that no sense can be obtained without it2 and on whom is it practised8 on something worse than a solitary barbarian not trained up in social craft2 it is exerted on a monster of mixed nature1 unacquainted with other ideas than the immediate ones of self-preservation1 brutal force1 and greedy appetite4 ,the whole fiction is indeed one of those which ,longinus calls dreams1 but the dreams of ,jupiter2 and the improbabilities of the component parts vanish in the pathos1 and the restless anguish of curiosity which overwhelms us in the conduct of the tale4#bg ,that the translation of the word ,krataus1 in the celebrated passage of ,sisyphus1 should have met with indulgence from those who insist on the preservation of ,outis1 may not be matter of surprise1 because1 as ,mr4 ,c4 observes1 'it is now perhaps impossible to ascertain with precision what ,homer meant by the word krataus1 which he only uses here and in the next book1 where it is the name of ,scylla's dam4' ,we give it up too1 though not willingly1 because the ancients appear to have been as ignorant of the being so called as ourselves2 some of whom1 by cutting the word into two1 attempted to make it rather an attribute of the stone itself1 than the effect of some external power3 but from him1 we are more surprised at the observation on the word anaids1' in the same passage1 as 'also of very doubtful explication4' ,is it not the constant practice of ,homer to diffuse energy by animating the inanimate8 has he forgotten the maddening lances1 the greedy arrows1 the roaring shores1 the groaning earth1 the winged words1 the cruel brass1 and a thousand other metaphors from life8 and if these occurred not to his memory1 the observation of ,aristotle on the passage in question1 as quoted by ,clarke1 might have removed all doubts about the true sense of the word anaids1 when applied to a rock4 ,mr4 ,cowper1 in his interpretation of many words and expressions of dubious explication1 has generally chosen that sense which seemed most to contribute to the perspicuity of the passage3 thus in ,iliad1 iv4 v4 #cjf1 seq4 when ,nestor instructs his troops before the battle1 he has1 in our opinion1 adopted the best and only sense1 though rejected by ,clarke1 with more subtilty than reason4 ,thus he has substituted the word 'monster' for the epithet amaimaketos1 ,iliad1 xvi4 #cbi1 with sufficient propriety1 whether that word be expressive of enormity of dimension1 or untameableness of disposition2 in both which senses it occurs in ,pindar4#bh ,we might enlarge on the terms amtrochitnas2 tropai elioio2 orsothyr1 and a variety of others equally disputed or obscure2 but as they will be sufficiently recognized by the scholar1 whilst the unlearned reader is enabled to pass smoothly over them1 we shall just observe1 that the interpretation of the proverbial passage in ,odyss4 viii4 v4 #cea1 ,deilai toi deiln ge kai engyai engyaasthai ',lame suitor1 lame security1' is the happiest instance of the superiority of plain sense over learning merely intricate4 ,when1 in ,odyss4 iv4 v4 #gc1 ,telemachus describes the mansion of ,menelaus1 ,mr4 ,c41 with all the translators1 renders lektron 'amber1' contrary to the explanation of ,pliny1 who defines electrum to be gold1 containing a fifth part of silver1 and quotes the ,homeric passage4#bi ,amber ornaments1 we believe1 are not mentioned by ,homer in the singular4 ,thus1 in ,odyss4 xviii4 #bid-e1 the golden necklace presented by ,eurymachus1 is called lektroisin eermenon1 inlaid with amber drops4 ,homer1 ,odyss4 xi4 v4 #egi1 seq41 places two vultures by the sides of ,tityus1 who entered his entrails1 and tore his liver by turns1 and adds1 to enhance the terror of the image1 ho d' ouk apamyneto chersi1 'he had not hands to rescue him2' entranced1 no doubt1 or chained to the ground4 ,this ,mr4 ,c4 translates-- ----,two vultures on his liver prey'd1 ,scooping his entrails2 nor suffic'd his hands ,to fray them thence4---- ,why not1 if he had a hand for each vulture1 unless we suppose him chained or entranced8 ,odyss4 xix4 #chi1 ,ulysses removes from the light of the hearth into the shade1 lest the nurse1 who had already discovered a striking resemblance in his shape1 voice1 and limbs1 to those of her lost master1 by handling his thigh1 and seeing all at once the scar on it1 should be convinced that he could be no other1 and betray him4 ,this ,mr4 ,c4 translates thus3 p4 #dec4 ,ulysses 7for beside the hearth he sat7 ,turn'd quick his face into the shade1 alarm'd ,lest1 handling him1 she should at once remark ,his scar1 and all his stratagem unveil4 ,he who1 unacquainted with the rest1 should read these lines1 would either conclude that the nurse had not looked at the face before1 or that the scar was in the face4 ,minerva had taken care that ,ulysses should not be discovered by his countenance1 making identity vanish into mere resemblance2 but as the scar in such a place1 without a miracle1 could belong only to ,ulysses1 he attempted to elude the farther guesses of the nurse1 by having his thigh washed in the dark4 ,odyss4 viii4 #djj1 ,euryalus1 eager to appease ,ulysses for the affront offered to him1 addressed ,alcinous his chief-- ,ton d' aut' ,euryalos apameibeto1 phnsen te ,alkinoe kreioi4---- ,but ,mr4 ,c4 turns ,alcinous into his father2 ,when thus ,euryalus his sire addressed4 ,the sons of ,alcinous were ,laodamus1 ,halius1 and ,clytoneus4 ,when ,mr4 ,c41 ,odyss4 xi4 v4 #cag1 seq4 tells us that ,alcmena bore ,megara to ,creon1 he says surely what ,homer has not said1#cj who mentions ,megara as the daughter of ,creon1 and one of the women ,ulysses saw1 and not as the sister and wife of ,hercules together4 ,but enough4 ,of similar observations1 perhaps more might be added4 ,these at least will show the attention with which we have compared copy and original4 ,if1 among the emendations of a future edition1 they be not passed over as cavils1 or treated as nugatory1 our purpose will be fully answered4 ,it would be difficult to determine in which of the two poems ,mr4 ,c4 has succeeded best4 ,we however incline to decide in favour of the ,odyssey4 ,the prevalent mixture of social intercourse1 domestic manners1 and rural images1 with the scenes of terror and sublimity1 as upon the whole it renders that poem more pleasing1 though not more interesting than the ,iliad1 and what we would call a poem for all hours1 appears to us to have been more adapted to the mild tones of our translator1 than the uninterrupted sublimity and pathos of the ,iliad4 ,in parting from both1 we congratulate the author on the production1 and the public on the acquisition of so much excellence4 ,we contemplate the whole in its mass as an immense fabric reared for some noble purpose3 on too near an approach1 not perhaps of equal beauty1 with parts left rough that might have been smoothed to neatness1 and others only neat that might have been polished into elegance2 blemishes that vanish at a proper distance3 by uniform grandeur of style1 the whole strikes with awe and delight1 attracts now the eyes of the race who saw it rise1 and1 secure of duration from the firmness of its base and the solidity of its materials1 will command the admiration of posterity4 ,,chapter ,,vi4 ,fuseli's proficiency in ,italian ,history1 ,literature1 and the ,fine ,arts1 exemplified in his ,criticism on ,roscoe's ,lorenzo de' ,medici4 ,the following review of ,roscoe's ,lorenzo de' ,medici1 will shew ,fuseli's critical knowledge of ,italian history4 ,,roscoe',s ,,lorenzo ,,de ,,medici4 ,the close of the fifteenth1 7says ,mr4 ,r4 ,pref4 p4 i47 and the beginning of the sixteenth century1 comprehend one of those periods of history which are entitled to our minutest study and enquiry4 ,almost all the great events from which ,europe derives its present advantages are to be traced up to those times4 ,the invention of the art of printing1 the discovery of the great ,western ,continent1 the schism from the ,church of ,rome1 which ended in the reformation of many of its abuses1 and established the precedent of reform2 the degree of perfection attained in the fine arts1 compose such an illustrious assemblage of luminous points1 as cannot fail of attracting for ages the curiosity and admiration of mankind4 ,a complete history of these times has long been a great desideratum in literature2 and whoever considers the magnitude of the undertaking will not think it likely to be soon supplied4 ,indeed1 from the nature of the transactions that then took place1 they can only be exhibited in detail1 and under separate and particular views4 ,that the author of the following pages has frequently turned his eye towards this interesting period is true2 but he has felt himself rather dazzled than informed by the survey4 ,a mind of greater compass1 and the possession of uninterrupted leisure1 would be requisite to comprehend1 to select1 and to arrange the immense varieties of circumstances which a full narrative of those times would involve1 when almost every city of ,italy was a new ,athens1 and that favoured country could boast its historians1 its poets1 its orators1 and its artists1 who may contend with the great names of antiquity for the palm of mental excellence3 when ,venice1 ,milan1 ,rome1 ,florence1 ,bologna1 ,ferrara1 and several other places1 vied with each other1 not in arms1 but in science and in genius1 and the splendour of a court was estimated by the number and talents of learned men1 who illustrated it by their presence1 each of whose lives and productions would1 in a work of this nature1 merit a full and separate discussion4 ,from this full blaze of talents1 the author has turned towards a period when its first faint gleams afford a subject1 if not more interesting1 at least more suitable to his powers2 when1 after a night of unexpected darkness1 ,florence again saw the sun break forth with a lustre more permanent1 though perhaps not so bright4 ,the days of ,dante1 ,boccaccio1 and of ,petrarch1 were indeed past2 but under the auspices of the ,house of ,medici1 and particularly through the ardour and example of ,lorenzo1 the empire of science and taste was again restored4 ,having thus1 with great modesty1 stated the motives for his choice of subject1 the author presents us with a rapid sketch of the ,medician family1 the literary and political character of ,lorenzo1 and his undeserved fate as statesman and writer in the succeeding century3 he then proceeds to a critical enumeration of the narratives composed of his life1 from the contemporary one of ,niccolo ,valori to the recent volumes of ,fabroni1 the mass of whose valuable documents1 together with the communications of a learned friend1 admitted to the printed and manuscript treasure of the ,laurentian library1 and the acquisition of a number of scarce tracts1 procured from the sales of the ,crevenna and ,pinelli books1 arranged and concentrated by indefatigable assiduity1 he considers as the basis on which he was enabled to erect his own system1 and to fill up the chasm that had hitherto separated from legitimate history1 the period elapsed between the last stage of decay and final dissolution of the ,byzantine empire by ,mahommed ,,ii4 and the brilliant epoch that rose with the accession of ,charles the ,fifth to the ,german throne4 ,the first chapter opens with ,florence1 its origin1 its tempestuous though not improsperous liberty during the political schism of its citizens into the two factions of ,ghibelines and ,guelphs1 or ,bianchi and ,neri1 subsiding at length under the levelling preponderance of the ,medicean family1 whose annals our author traces from the real or romantic date of ,charlemagne to the accession of ,cosmo1 emphatically decorated with the appellation of ,pater ,patri1 and the height of its commercial and political influence4 ',the authority1' observes our author1 p4 #ac1 'which ,cosmo and his descendants exercised in ,florence during the fifteenth century1 was of a very peculiar nature2 and consisted rather in a tacit influence on their part1 and a voluntary acquiescence on that of the people1 than in any prescribed or definite compact between them4 ,the form of government was ostensibly a republic1 and was directed by a counsel of ten citizens1 and a chief executive officer1 called the ,gonfaloniere1 or standard-bearer1 who was chosen every two months4 ,under this establishment1 the citizens imagined they enjoyed the full exercise of their liberties2 but such was the power of the ,medici1 that they generally either assumed to themselves the first offices of the state1 or nominated such persons as they thought proper to those employments4 ,in this1 however1 they paid great respect to popular opinion4 ,that opposition of interests so generally apparent between the people and their rulers1 was1 at this time1 scarcely perceived at ,florence1 where superior qualifications and industry were the surest recommendations to public authority and favour4 ,convinced of the benefits constantly received from this family1 and satisfied that they could1 at any time1 withdraw themselves from a connexion that exacted no engagements1 and required only a temporary acquiescence1 the ,florentines considered the ,medici as the fathers1 and not as the rulers of the republic4 ,on the other hand1 the chiefs of this house1 by appearing rather to decline than to court the honours bestowed on them1 and by a singular moderation of the use of them when obtained1 were careful to maintain the character of simple citizens of ,florence1 and servants of the state4 ,an interchange of reciprocal good offices was the only tie by which the ,florentines and the ,medici were bound2 and1 perhaps1 the long continuance of this connexion may be attributed to the very circumstance1 of its being in the power of either of the parties1 at any time1 to have dissolved it4' ,the temporary interruption of ,cosmo's power by the successful struggle of an opposite party1 headed by families eclipsed in his blaze1 his exile1 and his banishment to the ,venetian state1 tended only1 from the resignation and magnanimity of his conduct1 to rivet1 at his recall1 the voluntary chains of his fellow-citizens2--and he continued the unrivalled arbiter of ,florence and it's dependencies1 the primary restorer of ,greek and ,latin literature1 and the most enlightened patron of the arts1 to the advanced age of seventy-five1 and the hour of his death1 gratified with the prospect of the continuation of family power1 from the character of his son ,piero1 and that of his two grandsons1 ,lorenzo and ,juliano4 ,the ample and varied detail of this assemblage of important subjects we leave1 as preliminary1 to the curiosity of our readers1 and hasten to the second chapter1 and the appearance of ,lorenzo4 ',lorenzo de' ,medici1' says1 ,mr4 ,r41 p4 #fi1 'was about sixteen years of age when ,cosmo died1 and had at that time given striking indications of extraordinary talents4 ,from his earliest years he had exhibited proofs of a retentive and vigorous mind1 which was cultivated not only by all the attention which his father's infirmities would permit him to bestow1 but by a frequent intercourse with his venerable grandfather4 ,he owed also great obligations1 in this respect1 to his mother1 ,lucretia1 who was one of the most accomplished women of the age1 and distinguished herself not only as a patroness of learning1 but by her own writings4 ,of these some specimens yet remain1 which are the more entitled to approbation1 as they were produced at a time when poetry was at its lowest ebb in ,italy4 ,the disposition of ,lorenzo1 which afterwards gave him a peculiar claim to the title of magnificent1 was apparent in his childhood4 ,having received as a present a horse from ,sicily1 he sent the donor1 in return1 a gift of much greater value1 and on being reproved for his profuseness1 he remarked that there was nothing more glorious than to overcome others in acts of generosity4 ,of his proficiency in classical learning1 and the different branches of that philosophy which was then in repute1 he has left indisputable proofs4 ,born to restore the lustre of his native tongue1 he had rendered himself conspicuous by his poetical talents1 before he arrived at manhood4 ,to these accomplishments he united a considerable share of strong1 natural penetration and good sense1 which enabled him1 amidst the many difficulties that he was involved in1 to act with a promptitude and decision which surprised those who were witnesses of his conduct2 whilst the endowments which entitled him to admiration and respect1 were accompanied by others that conciliated1 in an eminent degree1 the esteem and affections of his fellow-citizens4 ',in his person1 ,lorenzo was tall and athletic1 and had more the appearance of strength than of elegance4 ,from his birth1 he laboured under some peculiar disadvantages--his sight was weak1 his voice harsh and unpleasing1 and he was totally deprived of the sense of smell4 ,with all these defects his countenance was dignified1 and gave an idea of the magnanimity of his character2 and the effects of his eloquence were conspicuous on many important occasions4 ,in his youth1 he was much addicted to active and laborious exercises1 to hawking1 horsemanship1 and country sports4 ,though not born to support a military character1 he gave sufficient proofs of his courage1 not only in public tournaments1 which were then not unfrequent in ,italy1 but also upon more trying occasions4 ,such was the versatility of his talents1 that it is difficult to discover any department of business1 or of amusement1 of art1 or of science1 to which they were not at some time applied2 and in whatever he undertook1 he arrived at a proficiency which would seem to have required the labour of a life much longer than that which he was permitted to enjoy4 ',the native energy and versatility of his character were invigorated by a suitable education3 to the notions of piety1 imbibed from ,gentile d',urbino1 and perhaps from his mother1 he added the accomplishments of a scholar1 under the tuition of ,landino1 and received the elements of the ,aristotelian and ,platonic philosophy from ,argyropylus and ,ficino2 but that exquisite taste in poetry1 in music1 and in every department of the fine arts1 which enabled him to contribute so powerfully towards their restoration1 was an endowment of nature1 the want of which no education could have supplied4' ,such were the qualifications with which ,lorenzo entered on the stage of public life1 and which enabled him1 with the political experience he had acquired on his travels through the most powerful states of ,italy1 and the connexions he had then formed1 to defeat1 at his return1 the conspiracy framed by ,luca ,pitti against his father ,piero1 and probably to frustrate the war raised against ,florence by its exiles1 without the loss of much blood or treasure4 ,delivered by these successes from external and domestic strife1 the ,medici were at leisure again to attend to their darling object1 the promotion of learning4 ,several literary characters are here delineated2 principally those of ,cristoforo ,landino1 and ,leo ,battista ,alberti1 the ,crichton of ,italy1 of whose unlimited powers the greatest was perhaps that1 which he1 if we believe ,vasari1 possessed over his horse2 and our author proceeds to the giostra1 or tournament1 celebrated by ,luca ,pulci and ,agnolo of ,monte ,pulciano1 in which ,lorenzo and ,juliano appear to have been the principal actors1 though the candidates were eighteen in number4 ',the steed upon which ,lorenzo made his first appearance1' says our historian1 p4 #if1 'was presented to him by ,ferdinand ,king of ,naples4 ,that on which he relied in the combat1 by ,borso ,marquis of ,ferrara4 ,the ,duke of ,milan had furnished him with his suit of armour4 ,his motto was1 ,le tems revient2 his device1 the fleurs de lys2 the privilege of using the arms of ,france having shortly before been conceded to the ,medici by ,louis ,,xi41 by a solemn act4 ,his first conflict was with ,carlo ,borromei2 his next with ,braccio de' ,medici1 who attacked him with such strength and courage1 that if the stroke had taken place1 ,orlando himself1 as the poet assures us1 could not have withstood the shock4 ,lorenzo took speedy vengeance1 but his spear breaking into a hundred pieces1 his adversary was preserved from total overthrow4 ,he then assailed ,carlo de ,forme1 whose helmet he split1 and whom he nearly unhorsed2 ,lorenzo then changing his steed1 made a violent attack upon ,benedetto ,salutati1 who had just couched his lance ready for the combat4' ,some specimens of the two panegyrics1 with the plan of that composed by ,politiano1 are annexed1 and translated with our author's own felicity4 ,the philosophical amusements of the two brothers follow next1 in a pertinent descant on the disputationes ,camaldulenses of ,landino2 and after these1 ,lorenzo is presented to us as a lover4 ,the materials are furnished by his own sonnets1 and the comment he composed on them1 and1 though the dead and the surviving beauties he celebrates are left nameless1 there is reason to suppose1 that they were ,simonetta1 the deceased mistress of his brother1 and ,lucretia ,donati4 ',the sonnets of ,lorenzo1' says ,mr4 ,r41 p4 #aaf1 'rise and fall through every degree of the thermometer of love2 he exults and he despairs2 he freezes and he burns2 he sings of raptures too great for mortal sense1 and he applauds a severity of virtue that no solicitations can move4 ,from such contradictory testimony1 what are we to conclude8 ,lorenzo has himself presented us with the key that unlocks this mystery4 ,from the relation which he has before given1 we find that ,lucretia was the mistress of the poet1 and not of the man4 ,lorenzo sought for an object to concentrate his ideas1 to give them strength1 and effect1 and he found in ,lucretia a subject that suited his purpose and deserved his praise4 ,but having so far realized his mistress1 he has dressed and ornamented her according to his own imagination4 ,every action of her person1 every emotion of her mind1 is subject to his control4 ,she smiles or she frowns2 she refuses or relents2 she is absent or present2 she intrudes upon his solitude by day1 or visits him in his nightly dreams1 just as his presiding fancy directs4 ',in the midst of these delightful visions1 ,lorenzo was called upon to attend to the dull realities of life4 ,he had now attained his twenty-first year1 and his father conceived that it was time for him to enter into the conjugal state4 ,to this end1 he had negotiated a marriage between ,lorenzo and ,clarice1 the daughter of ,giacopo ,orsini1 of the noble and powerful ,roman family of that name1 which had so long contended for superiority with that of the ,colonna4 ,whether ,lorenzo despaired of success in his youthful passion1 or whether he subdued his feelings at the voice of paternal authority1 is left to conjecture only4 ,certain1 however1 it is1 that in the month of ,december #adfh1 he was betrothed to a person whom1 it is probable1 he had never seen1 and the marriage ceremony was performed on the #dth day of ,june1 #adfi4ca ,that the heart of ,lorenzo had little share in this engagement1 is marked by a striking circumstance4 ,in adverting to his marriage in his ,ricordi1 he bluntly remarks1 that he took this lady to wife2 or rather1 says he1 she was given to me1 on the day before-mentioned4 ,notwithstanding this apparent indifference1 it appears1 from indisputable documents1 that a real affection subsisted between them2 and there is reason to presume that ,lorenzo always treated her with particular respect and kindness4 ,their nuptials were celebrated with great splendour4 ,two military spectacles were exhibited1 one of which represented a field battle of horsemen1 and the other the attack and storming of a fortified citadel4' ,lorenzo's second journey to ,milan1 and the death of his father1 ,piero1 take up the remainder of this chapter4 ,the variety of the materials that compose the third chapter1 which opens with the political state of ,italy at the time of ,lorenzo's succession to the direction of the republic1 is too great1 perhaps the incidents too minute1 and the transition from event to event too rapid1 to admit of extracts4 ,the riches of the ,medici1 their commercial concerns1 and other sources of revenue--the character of ,giuliano de' ,medici1 that of ,angelo ,politiano--the league between the ,duke of ,milan1 the ,venetians1 and the ,florentines--the establishment of the academy of ,pisa--an account of ,lorenzo's ,poem1 entitled ,altercatione1 with specimens and translations1 constitute the most prominent features of the chapter4 ,the fourth chapter1 whether we consider the importance of the events related1 or the perspicuity and energy with which they are developed and told1 contains1 in our opinion1 the most interesting period in the life of ,lorenzo1 the annals of ,florence1 and the general history of that time4 ',the conspiracy of the ,pazzi1' says our author1 p4 #agf1 was 'a transaction in which a pope1 a cardinal1 an archbishop1 and several other ecclesiastics1 associated themselves with a band of ruffians1 to destroy two men who were an honour to their age and country2 and purposed to perpetrate their crime at a season of hospitality1 in the sanctuary of a ,christian church1 and at the very moment of the elevation of the host1 when the audience bowed down before it1 and the assassins were presumed to be in the immediate presence of their ,god4' ,having traced the origin of the conspiracy to ,rome1 and the ambition and inveterate enmity of ,sixtus the ,fourth1 and his nephew1 ,count ,girolamo ,riario1 to ,lorenzo1 ,mr4 ,r4 proceeds to their ,florentine accomplices1 the family of the ,pazzi1 whom1 though allied by intermarriages to that of the ,medici1 envy1 intolerance of superiority1 penury1 and profligacy1 had rendered their irreconcilable enemies4 ,the young ,cardinal ,riario our author considers more as an instrument in the hands of his uncle ,girolamo1 than as an accomplice in the scheme2 and proceeds3 ,p4 #ahj4 ',this conspiracy1 of which ,sixtus and his nephew were the real instigators1 was first agitated at ,rome1 where the intercourse between the ,count ,girolamo ,riario and ,francesco de' ,pazzi1 in consequence of the office held by the latter1 afforded them an opportunity of communicating to each other their mutual jealousy of the power of the ,medici1 and their desire of depriving them of their influence in ,florence2 in which event it is highly probable that the ,pazzi were to have exercised the chief authority in the city1 under the patronage1 if not under the avowed dominion1 of the papal see4 ,the principal agent engaged in the undertaking was ,francesco ,salviati1 archbishop of ,pisa1 to which rank he had lately been promoted by ,sixtus1 in opposition to the ,medici1 who had for some time endeavoured to prevent him from exercising his episcopal functions4 ,if it be allowed that the unfavourable character given of him by ,politiano is exaggerated1 it is generally agreed that his qualities were the reverse of those which ought to have been the recommendations to such high preferment4 ,the other conspirators were1 ,giacopo ,salviati1 brother of the archbishop2 ,giacopo ,poggio1 one of the sons of the celebrated ,poggio ,bracciolini1 and who1 like all the other sons of that eminent scholar1 had obtained no small share of literary reputation2 ,bernardo ,bandini1 a daring libertine1 rendered desperate by the consequences of his excesses2 ,giovan ,battista ,montesicco1 who had distinguished himself by his military talents1 as one of the condottieri of the armies of the pope2 ,antonio ,maffei1 a priest of ,volterra2 and ,stephano da ,bagnone1 one of the apostolic scribes1 with several others of inferior note4 ',in the arrangement of their plan1 which appears to have been concerted with great precaution and secrecy1 the conspirators soon discovered1 that the dangers which they had to encounter were not so likely to arise from the difficulty of the attempt1 as from the subsequent resentment of the ,florentines1 a great majority of whom were strongly attached to the ,medici4 ,hence it became necessary to provide a military force1 the assistance of which might be equally requisite1 whether the enterprise proved abortive or successful4 ,by the influence of the ,pope1 the ,king of ,naples1 who was then in alliance with him1 and on one of whose sons he had recently bestowed a cardinal's hat1 was also induced to countenance the attempt4 ',these preliminaries being adjusted1 ,girolamo wrote to his nephew1 ,cardinal ,riario1 then at ,pisa1 ordering him to obey whatever directions he might receive from the ,archbishop4 ,a body of two thousand men were destined to approach by different routes towards ,florence1 so as to be in readiness at the time appointed for striking the blow4 ',shortly afterwards the ,archbishop requested the presence of the ,cardinal at ,florence1 where he immediately repaired1 and took up his residence at a seat of the ,pazzi1 about a mile from the city4 ,it seems to have been the intention of the conspirators to have effected their purpose at ,fiesole1 where ,lorenzo then had his country residence1 to which they supposed he would invite the ,cardinal and his attendants4 ,nor were they deceived in this conjecture1 for ,lorenzo prepared a magnificent entertainment on this occasion2 but the absence of ,giuliano1 on account of indisposition1 obliged the conspirators to postpone the attempt4 ,disappointed in their hopes1 another plan was now to be adopted2 and1 on further deliberation1 it was resolved1 that the assassination should take place on the succeeding ,sunday1 in the ,church of the ,reparata1 since called ,santa ,maria del ,fiore1 and that the signal for execution should be the elevation of the host4 ,at the same moment1 the ,archbishop and others of the conspirators were to seize upon the palace or residence of the magistrates1 whilst the office of ,giacopo de ,pazzi was to endeavour1 by the cry of liberty1 to incite the citizens to revolt4 ',the immediate assassination of ,giuliano was committed to ,francesco de' ,pazzi and ,bernardo ,bandini1 and that of ,lorenzo had been entrusted to the sole hand of ,montesicco4 ,this office he had willingly undertaken1 whilst he understood it was to be executed in a private dwelling1 but he shrunk from the idea of polluting the ,house of ,god with so heinous a crime4 ,two ecclesiastics were1 therefore1 selected for the commission of a deed1 from which the soldier was deterred by conscientious motives4 ,these were1 ,stefano da ,bagnone1 the apostolic scribe1 and ,antonio ,maffei4 ',the young ,cardinal having expressed a desire to attend divine service in the church of the ,reparata1 on the ensuing ,sunday1 being the #bfth day of ,april1 #adgh1 ,lorenzo invited him and his suite to his house in ,florence4 ,he accordingly came with a large retinue1 supporting the united characters of cardinal and apostolic legate1 and was received by ,lorenzo with that splendour and hospitality with which he was always accustomed to entertain men of high rank and consequence4 ,giuliano did not appear1 a circumstance that alarmed the conspirators1 whose arrangements would not admit of longer delay4 ,they soon1 however1 learnt that he intended to be present at the church4--,the service was already begun1 and the cardinal had taken his seat1 when ,francesco de' ,pazzi and ,bandini1 observing that ,giuliano was not yet arrived1 left the church and went to his house1 in order to insure and hasten his attendance4 ,giuliano accompanied them1 and as he walked between them1 they threw their arms round him with the familiarity of intimate friends1 but in fact to discover whether he had any armour under his dress2 possibly conjecturing from his long delay1 that he had suspected their purpose4 ,at the same time1 by their freedom and jocularity1 they endeavoured to obviate any apprehensions which he might entertain from such a proceeding4 ,the conspirators having taken their stations near their intended victims1 waited with impatience for the appointed signal4 ,the bell rang--the priest raised the consecrated wafer--the people bowed before it1--and1 at the same instant1 ,bandini plunged a short dagger into the breast of ,giuliano4--,on receiving the wound1 he took a few hasty steps and fell1 when ,francesco de' ,pazzi rushed upon him with incredible fury1 and stabbed him in different parts of his body1 continuing to repeat his strokes even after he was apparently dead4 ,such was the violence of his rage1 that he wounded himself deeply in the thigh4 ,the priests who had undertaken the murder of ,lorenzo were not equally successful4 ,an ill-directed blow from ,maffei1 which was aimed at the throat1 but took place behind the neck1 rather roused him to his defence than disabled him4 ,he immediately threw off his cloak1 and holding it up as a shield in his left hand1 with his right he drew his sword and repelled his assailants4 ,perceiving that their purpose was defeated1 the two ecclesiastics1 after having wounded one of ,lorenzo's attendants1 who had interposed to defend him1 endeavoured to save themselves by flight4 ,at the same moment ,bandini1 with his dagger streaming with the blood of ,giuliano1 rushed towards ,lorenzo2 but meeting in his way with ,francesco ,nori1 a person in the service of the ,medici1 and in whom they placed great confidence1 he stabbed him with a wound instantaneously mortal4 ,at the approach of ,bandini1 the friends of ,lorenzo encircled him and hurried him into the sacristy1 where ,politiano and others closed the doors1 which were of brass4 ,apprehensions being entertained that the weapon which had wounded him was poisoned1 a young man attached to ,lorenzo sucked the wound4 ,a general alarm and consternation took place in the church2 and such was the tumult which ensued1 that it was at first believed by the audience that the building was falling in2 but no sooner was it understood that ,lorenzo was in danger1 than several of the youth of ,florence formed themselves into a body1 and receiving him into the midst of them1 conducted him to his house1 making a circuitous turn from the church1 lest he should meet with the dead body of his brother4' ,through the subsequent scenes of this atrocious drama as our limits forbid to follow the author1 and an abbreviated account would do little justice to his copiousness or pathos1 let it suffice to say1 that the immediate punishment inflicted on the conspirators1 was such as might be expected from the revenge of an infuriate people4 ,even the ,archbishop was hung from the windows of the palace1 without being suffered to divest himself from his prelatical robes2 nor ought it to be considered as a small aggravation of their punishment1 to have after death been gibbeted for lasting infamy1 by the pencil of such a villain as ,andrea dal ,castagno4 ,happy ,julian6 happier ,lorenzo1 whom the contemporary genius of ,politiano has rescued from the equivocal memorial of ,pollajuoli4 ,it is with regret1 we must refer the reader to the work itself for the consequences that attended the defeat of this execrable attempt--the storm raised by the enraged ,pontiff1 who now launched excommunication on the quondam treasurer of the ,holy ,see1 as a son of iniquity and nursling of perdition2--the war which1 at his instigation1 the court of ,naples commenced against the ,republic1 on their refusal to deliver up ,lorenzo2--it's various success2 with the result of that bold expedient by which ,lorenzo at once put an end to the miseries of his country1 and completely triumphed over all his enemies1 we mean his visit to ,ferdinand himself6 ,at that moment his genius had attained the summit of his powers4 ,the fifth chapter treats of the studies of ,lorenzo1 and is executed with a degree of amore which developes to us the favourite studies of his historian1 though from the penetration displayed in the management of all the other topics of his hero's character1 it would be unjust to apply to him the motto of 'tractant fabrilia fabri1' or as ,johnson has since expressed it1 on talking of the political disputes of ,milton with ,salmasius and ,more1 'that let the subject of dispute be the rights of princes and of nations1 it will1 if treated by grammarians1 end in grammatic squabbles4' ,the author is perfectly in place and time3 if we be to consider ,lorenzo as a poet1 his right to that title was to be examined and established1 and the chapter became1 with great propriety1 part of a treatise on poetry4 ,after noticing the rise of ,italian literature in the fourteenth century1 it's subsequent degradation1 it's revival in the fifteenth1 and the rude attempts at restoring it1 by ,burchiello1 ,matteo ,franco1 and the three ,pulci1 that honour is conferred on ,lorenzo3 he is shown to have first1 among his contemporaries1 discriminated the true object1 and expressed the real characteristics of poetry1 in description1 poetic comparison1 and personification of material objects1 of passions and affections2 to have treated with success the prosopopoeia4 ,the sonnet1 that favourite of ,italy1 is next discussed1 and his claims to it's honours compared with those of ,dante and ,petrarca2 his ,selve d',amore1 a poem in ottava rima2 his new discovered poem of ,ambra2 of the ,caccia col ,falcone1 his moral pieces1 his sacred poems or orations1 and ,laude1 or ,lodi1 are reviewed1 and specimens admirably translated1 or1 to speak with more propriety1 excelled1 are annexed4 ,we then proceed to his ,beoni1 a piece of jocose satire in terza rima on drunkenness1 of which the fragment produced and translated does at least as much honour to our author's vein of humour1 as to his hero's2 and after expatiating on the expedition with which he wrote1 and many pertinent remarks on the ,improvisatori of ,italy1 its drama1 opera1 and carnival songs1 the chapter concludes with the opinion of the best contemporary critics1 on the poetic powers of ,lorenzo4 ,as the mutual limits of poetry and painting are so frequently confounded1 it may not be improper to extract what our author says on the objects and characteristics of poetry4 ,vol4 #a4 p4 #bee4 ',the great end and object of poetry1 and consequently1 the proper aim of the poet1 is to communicate to us a clear and perfect idea of his proposed subject4 ,what the painter exhibits by variety of colour1 by light and shade1 the poet expresses in appropriate language4 ,the former seizes only the external form1 and that only in a given attitude4 ,the other surrounds his object1 pierces it1 and discloses its most hidden qualities4 ,with the former1 it is inert and motionless2 with the latter1 it lives and moves2 it is expanded or compressed2 it glares upon the imagination1 or vanishes into air1 and is as various as ,nature herself4 ',the simple description of natural objects is perhaps to a young mind the most delightful species of poetry1 and was probably the first employment of the poet4 ,it may be compared to melody in music1 which is relished even by the most uncultivated ear4 ,in this department ,virgil is an exquisite master4#cb ,still more lively are the conceptions of ,dante1 still more precise the language in which they are expressed4 ,as we follow him1 his wildest excursions take the appearance of reality4 ,compared with his vivid hues1 how faint1 how delicate1 is the colouring of ,petrarca6 yet the harmony of the tints almost compensate for their want of force4 ,with accurate descriptions of the face of ,nature the works of ,lorenzo abound2 and these are often heightened by those minute but striking characteristics1 which though open to all observers1 the eye of the poet can alone select4 ,thus the description of an ,italian winter1 with which he opens his poem of ,ambra#cc1 is marked by several appropriate and striking images4 ',the foliage of the olive appears of a dark green1 but is nearly white beneath4 ,l'uliva in qualche dolce piaggia aprica ,secondo il vento par or verde or bianca4 ,on some sweet sunny slope the olive grows1 ,its hues still changing as the zephyr blows4 ',the flight of the cranes1 though frequently noticed in poetry1 was perhaps never described in language more picturesque than the following1 from the same poem4 ,stridendo in ciel1 i gru veggonsi a lunge ,l'aere stampar di varie e belle forme2 ,e l'ultima col collo steso aggiunge ,ov' quella dinanzi alle vane orme4 ,marking the tracks of air1 the clamorous cranes ,wheel their due flight1 in varied lines descried2 ,and each with outstretched neck his rank maintains1 ,in marshal'd order1 through th' ethereal void4 ,the following picture from his ,selve d'amore is also drawn with great truth and simplicity4 ,al dolce tempo il bon pastore informa ,lasciar le mandre1 ove nel verno giacque3 ,e 'l lieto gregge1 che ballando in torma1 ,torna all'alte montagne1 alle fresche acque4 ,l'agnel1 trottando pur la materna orma ,segue2 ed alcun1 che pur or ora nacque ,l' amorevol pastore in braccio porta3 ,il fido cane a tutti fa la scorta4 ,sweet ,spring returns2 the shepherd from the fold ,brings forth his flock1 nor dreads the wintry cold2 ,delighted once again their steps to lead ,to the green hill1 clear spring1 and flow'ry mead4 ,true to their mother's track the sportive young ,trip light4 ,the careful hind slow moves along1 ,pleased in his arms the new-dropt lamb to bear3 ,his dog1 a faithful guard1 brings up the rear4 ',in the same poem is a description of the golden age1 in which the author seems to have exerted all his powers1 in selecting such images as are supposed to have been peculiar to that happy state of life4' ,mr4 ,r41 with great propriety1 places the essence of poetic diction1--not of poesy itself1 for that consists in invention1--in representing its object in motion1 to impress us with it's variety of action and attitudes2 in short1 in following time1 avoiding a minute anatomy of motionless surfaces1 to which words1 it's vehicle1 are totally inadequate4 ,surface can only be distinctly discriminated by line and colour4 ,hence it is evident that poetry cannot in this respect be either put in comparison with1 or be elevated above painting2 the province of their expression1 and effect1 must be for ever separate1 though they perfectly coincide in their aim1 which is to charm and convince the senses4 ,thus1 when poetry attempts to describe an object1 it must confine itself to one1 or a very few words1 in whatever merely relates to the shape or surface of that object1 and it's more profuse description is only then in it's place1 when that object begins to move4 ,such is the rule of ,nature and of ,homer1 from which no ancient or modern poet has deviated with impunity2 and ,ariosto1 who has described the shape1 figure1 and colour of ,alcina1 in five stanzas1 has laboured as much in vain to acquaint us with the ingredients of his witch-beauty1 as ,constantinus ,manasses to give us a clear idea of ,helen by his agglomeration of epithets1 or as ,haller of the ,genziana1 by a description of nineteen lines4 ,the images which ,mr4 ,r4 adduces from ,lorenzo confirm this2 they attain their effect merely by hastening from the body of the object to it's motion4 ,not the most expressive words of the most expressive language ever given to man1 arranged by ,homer or ,milton1 or a power still superior to their's1 could produce a sensation equal to that which is instantaneously received by one glance on the face of the ,venus de' ,medici1 or in that of the ,apollo in ,belvedere2 and if the spark1 which ,phidias caught from the ,zeus of ,homer1 were shot by his waving locks and the nod of his brow1 will it be denied that ,ctesilas in his expiring warrior1 from whose expression might be collected how much remained of life1 or ,aristides in the wounded mother1 who1 in the pangs of death1 struggled to remove her child from her palsied nipple1 'surrounded1 pierced1 and disclosed the most hidden qualities of their objects8' ,from what ,mr4 ,r4 with great acuteness remarks on poetic comparison1 we have extracted the following sonnet of ,lorenzo1 with the translation1 'not only1' as he adds1 'as an instance of the illustration of one sensible object by another1 but of the comparison of an abstract sentiment with a beautiful natural image4' ,p4 #bfj4 ,,sonetto4 ,oim1 che belle lagrime fur quelle ,che 'l nembo di disio stillando mosse6 ,quando il giusto dolor che'l cor percosse1 ,sal poi su nell' amorose stelle6 ,rigavon per la delicata pelle ,le bianche guancie dolcemente rosse1 ,come chiar rio faria1 che'n prato fosse1 ,fier bianchi1 e rossi1 le lagrime belle2 ,lieto amor stava in l' amorosa pioggia1 ,com' uccel dopo il sol1 bramate tanto1 ,lieto riceve rugiadose stille4 ,poi piangendo in quelli occhi ov'egli alloggia1 ,facea del bello e doloroso pianto1 ,visibilmente uscir dolce faville4 ,ah6 pearly drops1 that pouring from those eyes1 ,spoke the dissolving cloud of soft desire6 ,what time cold sorrow chill'd the genial fire1 ',struck the fair urns1 and bade the waters rise4' ,soft down those cheeks1 where native crimson vies ,with ivory whiteness1 see the crystals throng2 ,as some clear river winds its stream along1 ,bathing the flowers of pale and purple dyes1 ,whilst ,love rejoicing in the amorous shower1 ,stands like some bird1 that1 after sultry heats1 ,enjoys the drops1 and shakes his glittering wings3 ,then grasps his bolt1 and1 conscious of his power1 ,midst those bright orbs assumes his wonted seat1 ,and thro' the lucid shower his living lightning flings4 ,the wing1 the harp1 the hatchet1 the altar of ,simmias1 were the dregs of a degraded nation's worn-out taste2 but it is matter of surprise1 that a race celebrated for susceptibility of sentiment should have submitted to lisp their first accents1 and continued to breathe their full raptures of love1 in the trammels of a sonnet4 ,if1 as may reasonably be supposed1 the first twister of a sonnet were a being of a versatile head and frozen heart1 the beauties thronged into this little labyrinth1 it's glowing words1 and thoughts that burn1 whether we consider the original1 or it's more than equal translation1 equally challenge our admiration and sympathy4 ,we must yet be allowed to make a few observations on what our author1 perhaps with greater ingenuity than impartiality1 pronounces on the comparative excellence of the ancients and moderns in the use of the prosopopoeia4 ,p4#bff4--';,if the moderns excel the ancients in any department of poetry1 it is in that now under consideration4 ,it must not indeed be supposed1 that the ancients were insensible of the effects produced by this powerful charm1 which1 more peculiarly than any other1 may be said ,to give to airy nothing1 ,a local habitation and a name4 ,but it may safely be asserted1 that they have availed themselves of this creative faculty much more sparingly1 and with much less success1 than their modern competitors4 ,the attribution of sense to inert objects1 is indeed common to both2 but that still bolder exertion1 which embodies abstract existence1 and renders it susceptible of ocular representation1 is almost exclusively the boast of the moderns4#cd ',if1 however1 we advert to the few authors who preceded ,lorenzo de' ,medici1 we shall not trace in their writings many striking instances of those embodied pictures of ideal existence1 which are so conspicuous in the works of ,ariosto1 ,spenser1 ,milton1 and subsequent writers of the higher class1 who are either natives of ,italy1 or have formed their taste upon the poets of that nation4' ,to enforce his premises1 the author produces a variety of tableaux from the writings of his hero1 and not without appearance of success1 to show his superiority in this species of composition4 ,to invalidate the claim of the moderns1 with their fragments of personification1 it might1 perhaps1 be sufficient to call to the reader's mind that immense mass of prosopopoeia1 on which the ancients established the ostensible fabric of their religion4 ,what were the divinities that filled their temples1 but images of things1 personifications of the powers of nature8 and were not these the auxiliaries of their poets8 ,discriminated by characteristics so appropriate and so decisive1 that no observation of succeeding ages has been able to add any thing essential1 or to subtract any thing as superfluous from their insignia4 ,at this moment1 the poet and the artist subsist on their sterling properties2 and the greatest of the moderns could do no more than recompose from the birth of ,minerva1 the charms of ,pandora1 and the horrors of ,scylla1 the origin1 the beauty1 and the deformities of his ,sin2 and if1 by the superhuman flight of his fancy1 he snatched the attributes and shape of ,death from a region yet unexplored by former wings1 the being itself had not been unknown to the ancients2 it carried off ,alceste1 and offered battle in it's gloom to ,hercules4 ,but will it be denied1 that by personifying the act by which his heroes were to fall1 and the punishment attendant on that act1 ,milton has1 as far as in him lay1 destroyed the credibility of his poem8 ,homer found the abstractions1 which he mingled with the real actors of his poem1 already personified2 and to demand a belief in the existence of ,minerva or ,jupiter1 subjected his reader to no greater exertion1 than to believe in the existence of ,achilles or ,ulysses4 ,had credibility not been the great principle of ,homer1 had he introduced ,wisdom seizing ,achilles by the hair1 and ,beauty ravishing ,paris from the combat1 the ,iliad1 in what concerns the plan1 would be little more than the rival of the ,pilgrim's ,progress4 ,but if ,homer refused admittance to new-personified beings as actors of his poem1 has he contented himself entirely with monosyllabic animation of the inanimate1 with roaring shores1 remorseless stones1 or maddening lances8 ,the enormous image of ,discord in the fourth1 the picturesque prosopopoeia of ,prayers and ,guilt in the ninth1 and the luxuriant episode of ,guilt again in the nineteenth book of the ,ilias1 not only prove the contrary1 but establish him beyond all competition1 ,milton perhaps excepted1 as the first master of that poetic figure4 ,the ,liberty of ,petrarch1 and the ,jealousy and ,hope of ,lorenzo de' ,medici1 may with equal propriety adopt the names of ,health1 ,suspicion1 and ,curiosity2 but the ,lit of ,homer are images discriminated from all others1 and will rank as models of true prosopopoeia without the assistance of ,hesiod1 schylus1 or the love-embodying romance of ,apuleius4 ,the ,appendix to the first volume consists of forty-two pieces1 and contains the political and literary documents of the history4 ,of these the papers relative to the conspiracy of the ,pazzi1 especially the commentarium of ,poliziano1 the brief of excommunication of ,sixtus ,,iv1 the reply of the ,florentine ,synod1 and the deposition of ,giambattista de ,montesicco before his execution1 are the most interesting4 ,one great prerogative of the author is1 no doubt1 that happy distribution of matter1 by which the grave and the more amusing parts of the subject alternately relieve each other4 ,having left his reader con la bocca dolce1 at the conclusion of the first volume1 ,mr4 ,r4 at the beginning of the second1 exhibits the rival of ,petrarch1 if not as the founder1 at least as the first who gave action and energy to that conciliating system of politics1 since denominated the balance of power1 the darling maxim of modern statesmen4 ',the situation of ,italy1' says our author1 p4 #d1 'at this period1 afforded an ample field for the exercise of political talents4 ,the number of independent states of which it was composed1 the inequality of their strength1 the ambitious views of some1 and the ever-active fears of others1 kept the whole country in continual agitation and alarm4 ,the vicinity of these states to each other1 and the narrow bounds of their respective dominions1 required a promptitude of decision1 in cases of disagreement1 unexampled in any subsequent period of modern history4 ,where the event of open war seemed doubtful1 private treachery was without scruple resorted to2 and where that failed of success1 an appeal was again made to arms4 ,the ,pontifical ,see had itself set the example of a mode of conduct that burst asunder all the bonds of society1 and operated as a convincing proof that nothing was thought unlawful which appeared to be expedient4 ,to counterpoise all the jarring interests of these different governments1 to restrain the powerful1 to succour the weak1 and to unite the whole in one firm body1 so as to enable them on the one hand successfully to oppose the formidable power of the ,turks1 and on the other1 to repel the incursions of the ,french and the ,germans1 both of whom were objects of terror to the less warlike inhabitants of ,italy1 were the important ends which ,lorenzo proposed to accomplish4 ,the effectual defence of the ,florentine dominions against the encroachments of their more powerful neighbours1 though perhaps his chief inducement for engaging in so extensive a project1 appeared1 in the execution of it1 rather as a necessary part of his system than as the principal object which he had in view4 ,in these transactions1 we may trace the first decisive instance of that political arrangement1 which was more fully developed and more widely extended in the succeeding century1 and which has since been denominated the balance of power4 ,casual alliances1 arising from consanguinity1 from personal attachment1 from vicinity1 or from interest1 had indeed frequently subsisted among the ,italian ,states2 but these were only partial and temporary engagements1 and rather tended to divide the country into two or more powerful parties1 than to counterpoise the interests of individual governments1 so as to produce in the result the general tranquillity4'#ce ,before1 however1 ,lorenzo could proceed to the execution of his beneficent system1 he had to thank his stars for a second escape from a new conspiracy formed against his life1 at the instigation of his old and inveterate enemies1 the ,riarii1 by ,battista ,frescobaldi4 ,this attempt1 conducted with less prudence1 had none of the atrocious consequences of the first1 but ended in the immediate destruction of ,frescobaldi and his ,tuscan accomplices4 ,cursorily however1 as it is related by our author1 it appears to have made a deep impression on the mind of his hero1 since he adopted1 in consequence of it1 a measure of safety which even the homicide ,cesar had scorned1 that of appearing in public guarded by a select band of armed friends4 ,the author now proceeds at length1 and with equal perspicuity1 impartiality1 and diligence1 to detail the progress of ,lorenzo's measures to secure and establish the independence of ,florence1 and to compose the jarring interests of ,italy4 ,popes1 kings1 petty princes1 republics1 appear in succession1 poised1 supported1 checked1 advised1 reconciled1 to cement his generous plan4 ,eloquence1 military skill1 caution1 liberality1 intrepidity1 stamp him by turns the soul of his own1 and the arbiter of the surrounding states1 till at length the whole is composed and well poised1--,italy enjoys security and peace4 ,such is the general outline2 a more minute detail1 as it would exceed our limits1 could in a meagre summary serve only to weary the reader3 the materials vary1 the contending parties are not equally important1 the heroes sometimes relax2 conquests give way to a leader's indisposition1 and battles are fought which remind us of ,virgil's winged squadrons2 ,hi motus animorum1 atque hc certamina tanta1 ,pulveris exigui jactu compressa quiescunt4 ,chap4 ,,vii4 ,from politics1 negotiations1 and war1 we follow our author to his academic shades1 to the improvements in classic learning made under the fostering patronage of ,lorenzo2 to the importation of ,greek literature by ,emanuel ,chrysoloras1 ,joannes ,argyropylus1 ,demetrius ,chalcondyles2 to the introduction of printing1 the progress of the ,laurentian library1 and the establishment of a ,greek academy at ,florence4 ,we are made acquainted with ,politiano2 his merits as a civilian1 critic1 translator1 controvertist1 and poet3 ,giovanni ,pico1 ,prince of ,mirandola1 next excites our wonder2 and after him1 ,linacer ,landino1 and the two ,verini might claim our attention1 were they not eclipsed by the female efforts of ,alessandra ,scala1 and ,cassandra ,fidelis4 ',it might have been expected1' says our author1 p4 #ee1 after having premised some observations on the seemingly unattainable excellence of ,dante1 ,petrarca1 and ,boccaccio1 'that the successful efforts of these authors to improve their native tongue1 would have been more effectual than the weak1 though laudable1 attempts made by them to revive the study of the ancient languages2 but it must be remembered1 that they were all of them men of genius1 and genius assimilates not with the character of the age4 ,homer and ,shakspeare have no imitators1 and are no models4 ,the example of such talents is perhaps1 upon the whole1 unfavourable to the general progress of improvement2 and the superlative abilities of a few1 have more than once damped the ardour of a nation4 ,but if the great ,italian authors were inimitable in the productions of their native language1 in their ,latin writings they appeared in a subordinate character4 ,of the labours of the ancients1 enough had been discovered to mark the decided difference between their merits and those of their modern imitators2 and the applauses bestowed upon the latter1 were only in proportion to the degree in which they approached the models of ancient eloquence4 ,this competition was1 therefore1 eagerly entered into2 nor had the success of the first revivers of these studies deprived their followers of the hope of surpassing them4 ,even the early part of the fifteenth century produced scholars as much superior to ,petrarca1 and his coadjutors1 as they were to the monkish compilers1 and scholastic disputants1 who immediately preceded them2 and the labours of ,leonardo ,aretino1 ,gianozzo ,manetti1 ,guarino ,veronese1 and ,poggio ,bracciolini1 prepared the way for the still more correct and classical productions of ,politiano1 ,sannazaro1 ,pontano1 and ,augurelli4 ,the declining state of ,italian literature1 so far then from being inconsistent with1 was rather a consequence of the proficiency made in other pursuits1 which1 whilst they were distinguished by a greater degree of celebrity1 demanded a more continued attention1 and an almost absolute devotion both of talents and of time4' ,it would be injustice to suppose that1 by this well turned and energetic passage1 our author could mean to depreciate the benign influence of original genius1 or to insinuate aught against the necessity of it's periodical appearance3 his aim is to assign their proper place to the literati of the epoch he describes1 to trace the probable motives of their pursuits1 and to show1 that by a judicious choice they supplied1 in some degree1 their want of innate power1 and even of discernment in their objects of imitation4 ,who1 better than our historian1 knows1 that1 if ,nature be inexhaustible in her resources and productions1 and genius be merely a power1 seizing and representing with clearness some of her features1 the appearance of one man of genius can no more check the perceptions1 than preclude the existence of another8 ,he who takes ,homer or ,michael ,angelo for his model1 adopts him merely as his medium to see ,nature more distinctly or on a grander scale2 he imitates without copying1 like ,virgil and ,pelegrino ,tibaldi1 for whom it will be difficult to find a name1 if they be refused that of imitators of the ,ionian and the ,tuscan genius4 ,if the supposed inaccessible excellence of ,dante and his contemporaries dispirited the ,italians of the fifteenth century from the cultivation of the higher ,italian poetry1 it proved not that they had exhausted ,nature1 but that they were no longer understood2 and that they were not1 almost every line of their pedantic commentators proves4 ,machiavelli1 ,ariosto1 ,tasso1 appeared after them1 with the same models before their eyes1 and each produced works none would wish to exchange for all the laboured lucubrations of ,tuscan ,latinists3 the fact is1 it was easier to shine before a partial public formed by themselves1 with glittering compilations of classic lines1 almost always dishonoured by some clumsy or gothic addition of their own1 than to emulate the pace of their great predecessors before the general eye4 ,the domestic character of ,lorenzo1 the wit1 the husband1 father1 friend1 appear in the eighth chapter4 ,the author examines and acquits him of the charge of having been addicted to licentious amours1 and exhibits him1 if not as a tender1 at least as a civil husband3 but in no point of view1 says he1 does the character of this extraordinary man appear more engaging than in his affection towards his children1 in his care of their education1 and in his solicitude for their welfare4 ,he accordingly1 on each of these particulars1 enters into very interesting details3 we are introduced to the characters of his sons1 ,piero and ,giovanni1 the first known as his successor1 the second celebrated as supreme pontiff under the assumed name of ,leo ,x4 ,from his children1 we pass on to ,lorenzo's domestic concerns4 ,his villas1 ,poggio ,cajano1 ,careggi1 ,fiesole1 and other domains1 pass in review4 ,the visits of ,piero to ,rome and ,milan1 his marriage with ,alfonsina ,orsini2 the exaltation of ,giovanni to the dignity of cardinal at the age of fourteen1 his father's admirable admonitory letter to him on that occasion2 the death of ,madonna ,clarice1 ,lorenzo's wife2 his patronage of learned ecclesiastics2 the assassination of ,g4 ,riario1 and the tragic death of ,galeotto ,manfredi1 ,prince of ,faenza1 occupy the remainder4 ,if the subject of the ninth chapter1 the progress of the plastic arts1 under the patronage of the ,medici1 reflect a new lustre on the beneficent grandeur of that family1 the judgment1 perspicuity1 elegance of taste1 and 'amore1' with which it is treated by our author1 reflect almost equal honour on himself4 ,from the obscure dawn of ,cimabue to the noonday splendour of ,m4 ,angelo1 we are gradually led to form our ideas of art with a precision and distinctness1 in vain looked for in the loquacious volumes and indiscriminate panegyrics of ,vasari4 ,among so many beauties1 the choice of selection is difficult2 a short extract from one or two passages will inform the reader what he is to expect from the whole4 ,after mentioning the successful efforts of ,lorenzo1 ,ghiberti and ,donatello1 the author continues3 ,p4 #ahi4--',notwithstanding the exertions of these masters1 which were regarded with astonishment by their contemporaries1 and are yet entitled to attention and respect1 it does not appear that they had raised their views to the true end of the profession4 ,their characters rarely excelled the daily prototypes of common life1 and their forms1 although at times sufficiently accurate1 were mostly vulgar and heavy4 ,in the pictures which remain of this period1 the limbs are not marked with that precision which characterizes a well-informed artist4 ,the hands and feet in particular appear soft1 enervated1 and delicate1 without distinction of sex or character4 ,many practices yet remain that evince the imperfect state of the art4 ,ghirlandajo and ,baldovinetti continued to introduce the portraits of their employers in historic composition1 forgetful of that simplex duntaxat et unum with which a just taste can never dispense4 ,cosimo ,roselli1 a painter of no inconsiderable reputation1 attempted1 by the assistance of gold and ultramarine1 to give a factitious splendour to his performances4 ,to every thing great and elevated1 the art was yet a stranger2 even the celebrated picture of ,pollajuolo exhibits only a group of half-naked and vulgar wretches1 discharging their arrows at a miserable fellow-creature1 who by changing places with one of his murderers1 might with equal propriety become a murderer himself4#cf ,nor was it till the time of ,michaelagnolo1 that painting and sculpture rose to their true object1 and instead of exciting the wonder1 began to rouse the passions and interest the feelings of mankind4' ,though indignant at the doating tradition which still presumes to foist the bedlam trash of ,titus ,andronicus among ,shakspeare's pieces2 and certainly as little partial to the rubric of martyrologies as our author or ,mr4 ,tenhove2 we yet believe1 that their observation receives it's force rather from the insensibility1 perhaps brutality1 of artists1 than from the subject itself4 ,let horror and loathsomeness be banished from the instruments of art1 and the martyrdom of ,stephen or ,sebastian1 ,agnes or ,john1 becomes as admissible as that of ,marsyas or ,palamedes1 ,virginia1 or ,regulus4 ,it is the artist's fault if the right moment be missed4 ,if you see only blood-tipt arrows1 brain-dashed stones1 excoriating knives1 the artist1 not the subject1 is detestable2 this furnished heroism1 celestial resignation1 the features of calm fortitude and beauty1 helpless1 but undismayed2 the clown or brute alone1 who handled it1 pushed you down among the assassins from the hero's side4 ,humanity may avert our eyes with propriety from the murdered subjects of ,pietro ,testa1 ,joseph ,ribera1 sometimes even of ,domenicho himself2 but apathy1 phlegm1#cg effeminacy1 alone would prefer an ,andromeda1 an ,agave1 or a ,venus hanging over an expiring ,adonis1 to the ,madonna del ,spasmo of ,raffaello1 or ,m4 ,angelo's ,crucifixion of ,st4 ,peter4 ,we next present the reader with the following passage on ,michaelagnolo4 ,p4 #bjh4--',the labours of the painter are necessarily transitory1 for so are the materials that compose them4 ,in a few years ,michaelagnolo will be known like an ancient artist1 only by his works in marble4 ,already it is difficult to determine whether his reputation be enhanced or diminished by the sombre representations of his pencil in the ,pauline and ,sixtine chapels1 or by the few specimens of his cabinet pictures1 now rarely to be met with1 and exhibiting only a shadow of their original excellence4 ,but the chief merit of this great man is not to be sought for in the remains of his pencil1 nor even in his sculptures1 but in the general improvement of the public taste which followed his astonishing productions4 ,if his labours had perished with himself1 the change which they effected in the opinions and the works of his contemporaries would still have entitled him to the first honours of the art4 ,those who from ignorance1 or from envy1 have endeavoured to depreciate his productions1 have represented them as exceeding in their forms and attitudes the limits and the possibilities of nature1 as a race of beings1 the mere creatures of his own imagination2 but such critics would do well to consider1 whether the great reform to which we have alluded could have been effected by the most accurate representations of common life1 and whether any thing short of that ideal excellence which he only knew to embody could have accomplished so important a purpose4 ,the genius of ,michaelagnolo was a leaven which was to operate on an immense and heterogeneous mass1 the salt intended to give a relish to insipidity itself2 it was therefore active1 penetrating1 energetic1 so as not only effectually to resist the contagious effects of a depraved taste1 but to communicate a portion of its spirit to all around4' ,the comprehensive conception and energy of this admirable passage prove our author to have penetrated farther into the character of ,michaelagnolo1 and to have found far more accurate ideas of his real prerogative1 than either of his favourite biographers4#ch ,before we dismiss this chapter1 we state it as matter of surprise1 that the accomplishments and gigantic powers of ,lionardo da ,vinci1 a man nearly of ,lorenzo's own age1 appear to have shared in none of the favours which he showered on inferior artists4 ,chap4 ,x4 ,we approach with regret the concluding period of this history1 the last moments and death of ,lorenzo4 ,our regret is increased by the limits prescribed to our review1 as our author1 if possible1 rises here above the preceding chapters1 in the accumulation of interesting circumstances1 delineation of character1 and pathetic scenery4 ,the death of his hero involves that of the most conspicuous characters around him1 of ,politiano1 ,pico1 ,ermolao2 the expulsion of his family1 and the death of his unfortunate son soon follow2 and with the reinstatement of the ,medici1 the extinction of the republic1 after the unsuccessful struggles of ,lorenzino de' ,medici1 and ,philippo ,strozzi1 under the establishment of a tyranny1 finishes the work4 ,from so rich an aggregate of materials1 we must content ourselves with a single extract1 the character of ,lorenzo and our author's review of his conduct as a statesman4 ,p4 #bci4 ',in the height of his reputation1 and at a premature period of life1 thus died ,lorenzo de' ,medici2 a man who may be selected from all the characters of ancient and modern history1 as exhibiting the most remarkable instance of depth of penetration1 versatility of talent1 and comprehension of mind4 ,whether genius be a predominating impulse1 directing the mind to some particular object1 or whether it be an energy of intellect that arrives at excellence in any department in which it may be employed1 it is certain that there are few instances in which a successful exertion in any human pursuit has not occasioned a dereliction of many other objects1 the attainment of which might have conferred immortality4 ,if the powers of the mind are to bear down all obstacles that oppose their progress1 it seems necessary that they should sweep along in some certain course1 and in one collected mass4 ,what then shall we think of that rich fountain1 which1 whilst it was poured out by so many different channels1 flowed through each with a full and equal stream8 ,to be absorbed in one pursuit1 however important1 is not the characteristic of the higher class of genius1 which1 piercing through the various combinations and relations of surrounding circumstances1 sees all things in their just dimensions1 and attributes to each its due4 ,of the various occupations in which ,lorenzo engaged1 there is not one in which he was not eminently successful2 but he was most particularly distinguished in those which justly hold the first rank in human estimation4 ,the facility with which he turned from subjects of the highest importance to those of amusement and levity1 suggested to his countrymen the idea that he had two distinct souls combined in one body4 ,even his moral character seems to have partaken in some degree of the same diversity1 and his devotional poems are as ardent as his lighter pieces are licentious4 ,on all sides1 he touched the extremes of human character1 and the powers of his mind were only bounded by that impenetrable circle which prescribes the limits of human nature4 ',as a statesman1 ,lorenzo de' ,medici appears to peculiar advantage4 ,uniformly employed in securing the peace and promoting the happiness of his country1 by just regulations at home1 and wise precautions abroad1 and teaching to the surrounding governments those important lessons of political science1 on which the civilization and tranquillity of nations have since been found to depend4 ,though possessed of undoubted talents for military exploits1 and of sagacity to avail himself of the imbecility of neighbouring powers1 he was superior to that avarice of dominion1 which1 without improving what is already acquired1 blindly aims at more extensive possession4 ,the wars in which he engaged were for security1 not for territory2 and the riches produced by the fertility of the soil1 and the industry and ingenuity of the inhabitants of the ,florentine republic1 instead of being dissipated in imposing projects and ruinous expeditions1 circulated in their natural channels1 giving happiness to the individual1 and respectability to the state4 ,if he was not insensible to the charms of ambition1 it was the ambition to deserve rather than to enjoy2 and he was always cautious not to exact from the public favour more than it might be voluntarily willing to bestow4 ,the approximating suppression of the liberties of ,florence1 under the influence of his descendants1 may induce suspicions unfavourable to his patriotism2 but it will be difficult1 not to say impossible1 to discover1 either in his conduct or his precepts1 any thing that ought to stigmatize him as an enemy to the freedom of his country4 ,the authority which he exercised was the same as that which his ancestors had enjoyed1 without injury to the republic1 for nearly a century1 and had descended to him as inseparable from the wealth1 the respectability1 and the powerful foreign connexions of his family4 ,the superiority of his talents enabled him to avail himself of these advantages with irresistible effect2 but history suggests not an instance in which they were devoted to any other purpose than that of promoting the honour and the independence of the ,tuscan state4 ,it is not by the continuance1 but by the dereliction of the system that he had established1 and to which he adhered to the close of his life1 that the ,florentine republic sunk under the degrading yoke of despotic power2 and to his premature death we may unquestionably attribute1 not only the destruction of the commonwealth1 but all the calamities that ,italy soon afterwards sustained4' ,though we admire the author's eloquence1 and in a great measure subscribe to this character1 some doubts may be entertained1 whether ,lorenzo had not to thank a premature death for having left his political character1 if not unsuspected1 at least unimpeached by direct proofs4 ,aggrandisement by enormous accumulation of wealth1 and that obtained1 by cautious but unremitting grasps at power1 appears to have been the leading principle of the ,medicean family3 hence those sacrifices of private attachments and animosities2 hence that ambition of connecting themselves by intermarriage with the most powerful families of the surrounding powers2 hence the indecent1 though successful attempt of raising a boy to the dignity of ,cardinal1 against the qualms of an else willing ,pontiff2 steps not easily accounted for from men who professed the honour of being considered as the first citizens of ,florence1 to be the height of their ambition4 ,but let us return for a moment to our historian1 whose work we cannot dismiss without adding our feeble vote to the unbounded applause which it has obtained from the best part of the public4 ,mr4 ,r41 in our opinion1 possesses a high rank among the historians of his country4 ,notwithstanding the modesty of the title1 the life of ,lorenzo de' ,medici unites the general history of the times1 and the political system of the most memorable country in ,europe1 with the characters of the most celebrated men1 and the rise and progress of science and arts4 ,the greatest praise of the historian and biographer1 impartiality1 might be called its most prominent feature1 were it not excelled by the humanity of the writer1 who touches with a hand often too gentle1 those blemishes which he scorns to disguise4 ,it is impossible to read any part of his performance without discovering that an ardent love for the true interests of society1 and a fervid attachment to virtue and real liberty1 have furnished his motives of choice1 and every where directed his pen4 ,the diligence and correctness of judgment by which the matter is selected and distributed1 notwithstanding the scantiness1 obscurity1 or partiality of the documents that were to be consulted1 are equalled only by the amenity with which he has varied his subjects1 and the surprising extent of his information4 ,simplicity1 perspicuity1 and copiousness1 are the leading features of his style1 often sententious without being abrupt1 and decided without an air of dogma2 that it should have been sometimes verbose1 sometimes lax or minute1 is less to be wondered at1 than that it should never be disgraced by affectation or pretence of elegance4 ,if we be not always led by the nearest road1 our path is always strewn with flowers2 and1 if it be the highest praise of writing to have made delight the effectual vehicle of instruction1 our author has attained it4 ,the ,appendix1 of upwards of forty documents relative to the text1 many highly interesting1 is preceded by some original poems of ,lorenzo1 copied by ,mr4 ,clarke1 from the ,,mss4 preserved in the ,laurentian library1 and now published for the first time4 ,,chapter ,,vii4 ,fuseli's ,marriage4--,his inducements to associate himself with the ,royal ,academy4--,he translates ,lavater's ,aphorisms on ,man4--,remarks on his own ,aphorisms on ,art4--,particulars of ,fuseli's acquaintance with ,mrs4 ,wollstonecraft4 ,on the #cjth ,june1 #aghh1 ,fuseli married ,miss ,sophia ,rawlins1 of ,bath ,easton1 near ,bath1 a young lady of reputable parentage and of personal attractions4 ,she had been for some time on a visit to an aunt who resided in ,london4 ,in ,mrs4 ,fuseli he found an excellent wife1 and with her he lived happily for thirty-five years4 ,she now survives him4 ,on his marriage he removed from ,st4 ,martin's lane1 and took a house1 ,no4 #gb1 ,queen ,anne ,street1 ,east1 now called ,foley ,street3 where he painted most of the pictures which subsequently composed ,the ,milton ,gallery4 ,this alteration in his condition effected1 from prudential motives1 some change in his mode of acting1 if not of thinking4 ,hitherto1 he had a distaste to all associated bodies for teaching the fine arts2 and1 in consequence1 refused to belong to some foreign academies during his residence in ,italy2 nor would he attend to the repeated recommendations of his friends 7particularly of ,sir ,joshua ,reynolds and ,mr4 ,alderman ,boydell7 to become a candidate for the ,royal ,academy4 ,but being now a married man1 and far from opulent1 the consideration of the pension usually granted by the ,royal ,academy1 under such circumstances1 to the widows of their members1 overcame his reluctance2 and having put down his name1 and forced himself to undergo the penance of solicitation1 which the members of this as well as several other self-elective bodies expect from candidates as a right1 he was elected an associate of the ,royal ,academy on the #c;d ,november1 #aghh4 ,in the beginning of the year 7#aghi71 ,fuseli published1 in a small duodecimo volume1 a translation of ,lavater's ,aphorisms on ,man2 which work1 written in ,german1 was dedicated to him by this early and esteemed friend4 ,the dedication is dated ,october1 #aghg4 ,when ,fuseli gave this book in an ,english dress1 it was with a promise1 that a corresponding volume of aphorisms on art1 7not1 indeed1 by the same author17 should appear in the course of the year4 ,in conformity to this intention1 one sheet was worked off and corrected by him2 but an accidental fire having taken place in the premises of the printer1 the whole impression was destroyed1 and ,fuseli could never bring himself to undergo the task of another revision4 ,it is1 however1 so far fortunate1 that the aphorisms now appear not only in a more concise1 correct1 and1 in point of number1 extended form1 but they are also accompanied by many corollaries2 for adding the latter1 he gave to me this reason1--that an aphorism may be discussed1 but ought not to contain its own explication4 ,these aphorisms1 which are not entirely confined to art1 but embrace also life and character1 are certainly the master-work of ,fuseli in literature3 many of them1 it is true1 he has used by amplification in his lectures1 and in the notes to ,pilkington's ,dictionary of the ,painters2 but what he himself wrote as an advertisement to ,lavater's ,aphorisms1 may be fairly said of the work as a whole1 that it will be found to contain what gives their value to maxims1--verdicts of wisdom on the reports of experience4 ,if some are truisms1 let it be considered that ,solomon and ,hippocrates wrote truisms3 if some are not new1 they are recommended by an air of novelty4 ,in the autumn of #agij1 ,fuseli became acquainted with the celebrated ,mary ,wollstonecraft4 ,several publications having gone so far as totally to misrepresent the nature of his intercourse with this highly-gifted lady1 it becomes the duty of his biographer to give a plain statement of facts4 ,the talents of ,mrs4 ,wollstonecraft#ci were first brought into notice by the ,rev4 ,john ,hewlett1 who1 to forward her views in getting employment by writing on literary subjects1 introduced her to ,mr4 ,joseph ,johnson1 bookseller1 in ,st4 ,paul's ,church-yard4 ,the house and purse of this liberal man were always open to authors who possessed talents1 and who required pecuniary assistance2 and such being the case with ,mrs4 ,wollstonecraft1 she was a frequent visitor at ,mr4 ,johnson's3 there ,fuseli met her2 but as he was not very ready to make new acquaintances1 and was not only a shy man1 but had rather a repulsive manner to those he did not know1 so it was some time before they became intimately acquainted4 ,the eyes of all ,europe were at this time fixed upon the passing events in ,france4 ,that spirit of liberty inherent in the ,swiss1 now burst forth in ,fuseli1 and he considered1 as did his friend and countryman ,lavater1 that an opportunity was then offered to mankind to assert and secure their liberties1 which no previous period in the history of the world had afforded4 ,the same feelings animated the bosom of ,mrs4 ,wollstonecraft3 this was kept up1 and indeed heightened by her then daily occupation1 that of translating from the ,french the political pamphlets of the day1 which at this time met with a ready and rapid sale2 and in writing criticisms on them1 as well as upon other subjects1 for the ,analytical ,review4 ,congruity of sentiments and feelings upon points which occupied the thoughts1 and engrossed the conversation of persons in all ranks and stations of life1 naturally brought about a closer intimacy between ,fuseli and ,mrs4 ,wollstonecraft1 the consequences of which were not foreseen by the lady2 for she little thought that the attachment on her part1 which proceeded from it1 would be the cause of her leaving this country1 and thus becoming an eye-witness of the system of ,gallic liberty which she attempted to uphold1 emanating1 as it did1 from philosophers1 being destroyed by murderers and madmen4 ,mrs4 ,wollstonecraft had the strongest desire to be useful to her connexions and friends1 and she began her career in life by sacrificing her feelings and comforts to what she fancied purity of conduct1 and the benefit of others4 ,it was a favourite consideration with her1 that she was designed to rise superior to her earthly habitation1 and that she always thought1 with some degree of horror1 of falling a sacrifice to a passion which may have a mixture of dross in it4#dj ,having a face and person which had some pretensions to beauty and comeliness1 ,mrs4 ,wollstonecraft had been frequently solicited to marry2 but previously to her acquaintance with ,mr4 ,fuseli1 she had never known any man possessed of those noble qualities1 that grandeur of soul1 that quickness of comprehension1 and lively sympathy1 which she fancied would be essential to her happiness1 if she entered into the marriage state4 ,these she found in him2 but there was a bar to all her hopes in this quarter2 for he was already married to a woman whom he loved4 ,for some years before their acquaintance1 with the view of usefulness which she had prescribed to herself1 ,mrs4 ,wollstonecraft read no book for mere amusement1 not even poetry1 but studied those works only which are addressed to the understanding2 she scarcely tasted animal food1 or allowed herself the necessaries of life1 that she might be able to pursue some romantic schemes of benevolence2 seldom went to any amusements 7being resident chiefly at ,bath1 and in the midst of pleasure71 and her clothes were scarcely decent in her situation of life4 ,the notions of privation which some of the revolutionists in ,france were now endeavouring to inculcate1 rather encreased than diminished this tendency in ,mrs4 ,wollstonecraft1 and ,fuseli found in her 7what he most disliked in woman7 a philosophical sloven3 her usual dress being a habit of coarse cloth1 such as is now worn by milk-women1 black worsted stockings1 and a beaver hat1 with her hair hanging lank about her shoulders4 ,these notions had their influence also in regard to the conveniences of life2 for when the ,prince ,talleyrand was in this country1 in a low condition with regard to his pecuniary affairs1 and visited her1 they drank their tea1 and the little wine they took1 indiscriminately from tea-cups4 ,fuseli had a talent for conversation peculiar to himself1 and his knowledge of the classics1 of literature in general1 and of the fine arts1 was extensive1 and his memory so retentive1 that he seldom forgot what he had read or seen2 these1 aided by a great power and fluency of words1 a poetical imagination and ready wit1 enabled him at all times to put even a known subject in a new light4 ,talents such as these1 ,mrs4 ,wollstonecraft acknowledged she had never seen united in the same person2 and they accordingly made a strong impression on her mind4 ,for1 said she1 ,i always catch something from the rich torrent of his conversation1 worth treasuring up in my memory1 to exercise my understanding4 ,she falsely reasoned with herself1 and expressed to some of her intimate friends1 that although ,mrs4 ,fuseli had a right to the person of her husband1 she1 ,mrs4 ,wollstonecraft1 might claim1 and1 for congeniality of sentiments and talents1 hold a place in his heart2 for she hoped1 she said1 to unite herself to his mind4 ,it was not to be supposed that this delusion could last long4 ,from an admiration of his talents she became an admirer of his person1 and then1 wishing to create similar feelings in ,fuseli1 moulded herself upon what she thought would be most agreeable to him4 ,change of manners1 of dress1 and of habitation were the consequences2 for she now paid more than ordinary attention to her person1 dressed fashionably1 and introduced furniture somewhat elegant into commodious apartments1 which she took for that purpose4 ,but these advances were not met with the affection which she had hoped to inspire in ,fuseli1--for he admired her chiefly for her talents2 and in the warmth of her disappointed feelings she constantly vented complaints of being neglected4 ,these availed so little1 that sometimes when ,fuseli received letters from her1 thinking they teemed only with the usual effusions of regard1 and the same complaints of neglect1 he would allow them to be some days unopened in his pocket4 ,the tumult which was raised in her mind by conflicting feelings1 having love for the object1 and yet the wish that her affection should be so regulated as to be strictly within the bounds which she had assigned to love1 that of strength of feeling unalloyed by passion1 injured in a degree her health1 and unfitted her for those literary pursuits which required a more than ordinary exertion of the mind4 ,for more than twelve months she wrote nothing but criticisms for the ,analytical ,review1 and even these1 which required but little exertion of the talents which she possessed1 would not have been written but for her daily necessities4 ,fuseli reasoned with her1 but without any effect1 upon the impropriety of indulging in a passion that took her out of common life4 ,her answer was1 ,if ,i thought my passion criminal1 ,i would conquer it1 or die in the attempt4 ,for immodesty1 in my eyes1 is ugliness2 my soul turns with disgust from pleasure tricked out in charms which shun the light of heaven4 ,at length ,mrs4 ,wollstonecraft appears to have grown desperate1 for she had the temerity to go to ,mrs4 ,fuseli1 and to tell her1 that she wished to become an inmate in her family2 and she added1 as ,i am above deceit1 it is right to say that this proposal arises from the sincere affection which ,i have for your husband1 for ,i find that ,i cannot live without the satisfaction of seeing and conversing with him daily4 ,this frank avowal immediately opened the eyes of ,mrs4 ,fuseli1 who being alarmed by the declaration1 not only refused her solicitation1 but she instantly forbade her the house4 ,no resource was now left for ,mrs4 ,wollstonecraft1 but to fly from the object which she regarded3 her determination was instantly fixed2 she wrote a letter to ,fuseli1 in which she begged pardon for having disturbed the quiet tenour of his life1 and on the #hth of ,december1 #agib1 left ,london for ,france4 ,shortly after her arrival in ,paris1 she again wrote to ,fuseli1 gave him her opinion of the state of public feeling at that important period of the revolution1 and implored him to write to her occasionally4 ,as this letter was not answered1 all communication on her part during her residence abroad ceased4 ,the cause of ,mrs4 ,wollstonecraft's protracted stay in ,france2--for she intended1 prior to her departure from ,england1 to have remained there only six weeks1--and the attachment which she formed while in ,paris1 are foreign to this memoir2 besides1 if they were not1 it would be unnecessary now to detail them1 as they have been long before the public from the able pen of him who afterwards became her husband4#da ,after an absence of nearly two years and a half1 ,mrs4 ,wollstonecraft returned to ,london1 7in ,april #agie17 and on her arrival called upon ,fuseli3 the reception which she met with1 it is presumed1 was not very grateful to her feelings1 for she shortly after wrote him the following letter4 ,when ,i returned from ,france1 ,i visited you1 ,sir1 but finding myself after my late journey in a very different situation1 ,i vainly imagined you would have called upon me4 ,i simply tell you what ,i thought1 yet ,i write not1 at present1 to comment on your conduct or expostulate4 ,i have long ceased to expect kindness or affection from any human creature1 and would fain tear from my heart its treacherous sympathies4 ,i am alone4 ,the injustice1 without alluding to hopes blasted in the bud1 which ,i have endured1 wounding my bosom1 have set my thoughts adrift into an ocean of painful conjectures4 ,i ask impatiently what--and where is truth8 ,i have been treated brutally2 but ,i daily labour to remember that ,i still have the duty of a mother to fulfil4 ,i have written more than ,i intended1--for ,i only meant to request you to return my letters3 ,i wish to have them1 and it must be the same to you4 ,adieu6 ,mary4 ,monday ,morning1--,to ,mr4 ,fuseli4 ,all communication ceased between the parties from this time until after ,mrs4 ,wollstonecraft's marriage with ,mr4 ,godwin4 ,fuseli noticed this occurrence in a letter to a friend1 in the following terms3 ,you have not1 perhaps1 heard that the assertrix of female rights has given her hand to the balancier of political justice4 ,fuseli saw ,mrs4 ,godwin but seldom2 he dined only once at her table4 ,indeed1 this lady did not live long to enjoy the happiness which she had pictured to herself1 in being the wife of a man of genius and talents2 for she died on the #ajth ,september #agig1 after having given birth to a female child1#db who has proved herself1 by works of the imagination1 to be worthy of her parents4 ,fuseli could not but feel much regret on the occasion2 but as grief does not give utterance to words1 so he barely noticed the catastrophe in the postscript of a letter to ,mr4 ,roscoe1 in these terms1--,poor ,mary6 ,,chapter ,,viii4 ,fuseli undertakes the ,illustration of ,cowper's ,edition of ,milton4--,first notion of the ,milton ,gallery hence suggested4--,letter to ,mr4 ,roscoe from ,fuseli and ,mr4 ,johnson4--,curious circumstances attending ,fuseli's ,election as a ,royal ,academician4--,sir ,joshua ,reynolds's temporary secession connected with that event4--,fuseli's progress in the pictures for the ,milton ,gallery4--,controversy between ,fuseli and the ,rev4 ,mr4 ,bromley4--,subjects painted for ,woodmason's ,illustrations of ,shakspeare4--,subscription towards the completion of the ,milton ,gallery4--,letter from ,mr4 ,roscoe4--,fuseli contributes to ,seward's ,anecdotes4--,his ,visit to ,windsor with ,opie and ,bonnycastle4--,anecdotes connected with that ,visit4--,letter from ,mr4 ,roscoe4--,mr4 ,johnson's ,imprisonment1 and ,fuseli's adherence to him4--,anecdote of ,lord ,erskine4--,exhibition of the ,milton ,gallery1 and ,list of the ,works composing it1 with incidental ,comments1 c4--,letter to ,fuseli from his brother ,rodolph4--,letter from ,fuseli to ,mr4 ,locke4 ,the ,shakspeare ,gallery was now 7in #agij7 nearly completed1 and hence ,fuseli's commissions for this had ceased4 ,the success which had attended ,boydell1 in his edition of ,shakspeare's works1 induced ,mr4 ,johnson to issue proposals for publishing one of ,milton1 which should not only rival this1 but1 in point of letterpress1 designs1 and engravings1 surpass any work which had previously appeared in ,england4 ,cowper had long meditated giving an edition of ,milton's poetical works1 with copious notes on his ,english poems1 and translations into verse of those in ,latin and ,italian2 and1 indeed1 he had made some progress in the undertaking4 ,johnson1 who was his publisher1 urged him to complete it2 to which he assented1 and ,fuseli was engaged to paint thirty pictures1 which were to be put into the hands of the ablest engravers of the time4 ,cowper proceeded with his part1 and ,fuseli laboured in putting upon canvass the sublime1 the pathetic1 and the playful scenes in ,milton4 ,that of ,the ,contest of ,satan1 ,sin1 and ,death1 was soon finished1 and given to ,sharpe to engrave4 ,eve starting from seeing herself in the ,water was put into the hands of ,bartolozzi4 ,satan taking his flight from ,chaos1 and ,adam and ,eve observed by ,satan1 were ready for the graver of ,blake4 ,the serious mental indisposition of ,cowper1 which took place before he had completed his part of the work1 and the opposition which ,mr4 ,alderman ,boydell offered to the progress of the scheme1 thinking that it would affect the sale of his edition of ,milton1 made ,mr4 ,johnson resolve to abandon it altogether4 ,this undertaking of ,fuseli's was1 however1 the foundation of a stupendous work by him1 ,the ,milton ,gallery1 of which ,i shall have occasion hereafter to speak1 and which he appears to have meditated in ,august #agij1 while at ,ramsgate in company with ,mr4 ,johnson2 shortly after he began to paint for ,cowper's projected edition of ,milton's poetical works1 as will be shewn by the following letter written by him to ,mr4 ,roscoe1 and to which ,johnson added a postscript4 ,ramsgate1 #agth ,august1 #agij4 ,,my ,,dear ,,sir1 ,i did indeed receive your letter1 but had not the pleasure of seeing ,mr4 ,daulby4 ,the first time he called upon me1 ,i happened to be at dinner with some company1 and as it never entered my head the stately figure which ,i observed dropping from the coach should be our friend1 ,i ordered myself to be denied4 ,the letter was left1 but no time mentioned when he would call again1 or any place assigned where ,i might find him4 ,johnson knew nothing of his abode4 ,in about eight or ten days he called again1 but ,i was at ,woolwich3 the next morning1 ,i understand1 he left town4 ,you both will easily believe that ,i was extremely mortified1 not to have had it in my power to enjoy an hour or two in his company2 but ,i console myself with the thought1 that he spent those hours with more satisfaction to himself4 ,you may by this time have forgot the contents of your letter3 it contains a comparison between your pursuits and mine2 and no doubt ,i make the most advantageous figure on paper4 ,i am on a road of glory2 you are only crawling about from the white to the brown bed4 ,i should1 however1 not be very uneasy if ,i could1 without a total change of situation1 obtain a little of that elbow-room for my mind1 which it seems you get by moving from a large house to a smaller one4 ,notwithstanding the success of my election at the ,academy1 and of the pictures which ,i have painted for the ,shakspeare ,gallery1 my situation continues to be extremely precarious4 ,i have been and am contributing to make the public drop their gold into purses not my own2 and though ,i am1 and probably shall be1 fully employed for some time to come1 the scheme is hastening with rapidity towards its conclusion4 ,there are1 says ,mr4 ,west1 but two ways of working successfully1 that is1 lastingly1 in this country1 for an artist1--the one is1 to paint for the ,king2 the other1 to meditate a scheme of your own4 ,the first he has monopolized2 in the second he is not idle3 witness the prints from ,english history1 and the late advertisement of allegorical prints to be published from his designs by ,bartolozzi4 ,in imitation of so great a man1 ,i am determined to lay1 hatch1 and crack an egg for myself too1 if ,i can4 ,what it shall be1 ,i am not yet ready to tell with certainty2 but the sum of it is1 a series of pictures for exhibition1 such as ,boydell's and ,macklin's4 ,to obtain this1 it will be necessary that ,i should have it in my power to work without commission or any kind of intermediate gain1 for at least three years2 in which time ,i am certain of producing at least twenty pictures of different dimensions4 ,the question is1 what will enable me to live in the mean time8 ,with less than three hundred a-year certain1 ,i cannot do it4 ,my idea is1 to get a set of men 7twenty1 perhaps1--less if possible1 but not more17 to subscribe towards it4 ,suppose twenty pounds each annually1 to be repaid either by small pictures or drawings1 or the profits of the exhibition1 should it succeed1 of which there can be no very great doubt4 ,such is1 at present1 the rude outline of my scheme3 it is in this manner alone that ,i can exhibit that variety of picturesque ideas of which1 ,i flatter myself1 you have seen specimens amongst my productions on paper and canvass2 and now1 tell me your opinion with your usual openness4 ,i am in earnest1 yours truly1 ,h4 ,fuseli4 ,w4 ,roscoe1 ,esq4 ,the few pictures that have been painted for ,boydell's scheme by our friend1--and he has little more to expect1 from the numbers employed1--,i need not say to you1 are perfectly sufficient to justify the warmest expectations from the scheme he has projected2 but they are trifling1 when we consider what he is capable of were he perfectly at his ease for a few years1 and at perfect liberty to choose his subjects4 ,his plan has my hearty concurrence2 and ,i have gone so far as to say1 that ,i would be one of six1 or even of three1 to support him in it2 but he prefers a larger number4 ,you are the only one to whom it has been mentioned1 and it should be spoken of with great delicacy1 for it had better not be known until it is nearly ripe3 think of it1 and tell me your sentiments4 ,it may be1 and ,i am confident it is1 unnecessary to tell you2 but as such things are common in your experience1 ,i shall say1 that this is not the effort of a man whose circumstances are involved1 to save himself from sinking4 ,our friend1 though not rich1 is perfectly free from incumbrances4 ,we shall be in town in a few days4 ,yours1 ,j4 ,johnson4 ,on the #ajth of ,february1 #agij1 ,fuseli was elected a ,royal ,academician4 ,as his election was accompanied by a circumstance which caused a great sensation at that time1 7,i allude to the temporary secession of ,sir ,joshua ,reynolds from the ,royal ,academy17 it will not be uninteresting to give ,fuseli's account of the transaction1 which ,i have heard him frequently relate4 ,the ,earl of ,aylesford1 the intimate friend of ,sir ,joshua1 had patronized ,m4 ,bonomi1 an ,italian by birth1 a native of ,rome1 and by profession an architect2 and1 with the view of serving this gentleman1 recommended him strongly to the protection of the ,president of the ,royal ,academy4 ,accordingly1 in the early part of #aghi1 ,m4 ,bonomi became a candidate for the preliminary step1 an ,associate of the ,academy1 in opposition to ,mr4 ,gilpin1 well known as a landscape painter of merit1 and who1 for his amiable disposition and manners1 was a man much respected and esteemed4 ,sir ,joshua exerted his influence to secure success to ,m4 ,bonomi2 but as the number of votes for the two candidates1 on the ballot1 were found to be equal1 the ,president asserted his privilege of the casting-vote1 which he gave in favour of the architect1 avowing1 at the same time1 that he had done so with the intention of his being elected an ,academician when a vacancy should occur1 and thus becoming eligible1 according to the laws of the ,academy1 to occupy the chair of ,professor of ,perspective1 which was then vacant2 considering it1 as he said1 highly desirable that this should be filled according to those laws1 by an ,academician1 and that1 in his opinion1 ,m4 ,bonomi was the person best qualified for the situation4 ,on the death of ,mr4 ,meyer1#dc which took place early in the year #agij1 ,m4 ,bonomi was accordingly proposed to succeed him as a ,royal ,academician4 ,fuseli1 who had always been treated with great kindness by ,sir ,joshua1 called upon him to solicit his vote for himself4 ,the ,president received him with politeness1 acknowledged the claims which he had to the distinction of an ,academician1 from the great talents which he possessed1 and which no man appreciated more than himself2 but he said1 ,were you my brother1 ,i could not serve you on this occasion2 for ,i think it not only expedient1 but highly necessary for the good of the ,academy1 that ,m4 ,bonomi should be elected3 and he added1 on another vacancy1 you shall have my support4 ,fuseli1 in answer1 thanked ,sir ,joshua for his candour1 and hoped if he tried his friends on this occasion1 he would not be offended4 ,to this the ,president said1 ,certainly not4 ,sir ,joshua was active in taking measures to favour the views of ,m4 ,bonomi2 and although he expected some opposition1 from the spirit which was manifested on the former occasion1 yet he was nevertheless very sanguine as to the ultimate success of this candidate4 ,on the evening of the election1 an expedient was resorted to1 no doubt with the sanction of1 but not acknowledged by1 the ,president1--that of exhibiting on the table of the ,academy some neatly executed drawings of ,m4 ,bonomi2 which display had a contrary effect to what ,sir ,joshua expected4 ,the friends of ,fuseli protested against this1 which they deemed an innovation1 and urged with great propriety1 that if drawings were to be shown1 he should have the same chance as his competitor2 stating at the same time1 that his portfolio was as rich in these as any man's2 for the members1 said they1 must be aware1 that no modern artist excels ,mr4 ,fuseli in design4 ,the sense of the meeting was taken2 and after a warm debate1 ,m4 ,bonomi's drawings were ordered to be removed4 ,as it was considered that ,fuseli's claims had not been fairly met1 those who were wavering in opinion before1 now became fixed in his favour1 and when the numbers were declared1 there were twenty-one votes for1 and only nine against him4 ,this decision was evidently unexpected by ,sir ,joshua1 who1 on leaving the chair1 shewed some degree of mortification2 and on the #bc;d of ,february1 #agij1 thirteen days after the election had taken place1 he wrote a letter to the ,academicians1 in which were these words3 ,i resign the ,presidency of the ,royal ,academy1 and also my seat as an ,academician4 ,it is unnecessary1 in this place1 to detail the means which the ,academy took1 and successfully1 to recall him to the chair3 suffice it to say1 that1 notwithstanding the chagrin which he experienced1 in failing to carry the point for ,m4 ,bonomi1 ,sir ,joshua was unaltered in his kindness to ,fuseli1 during the remainder of his life4 ,the employment which had been given to ,fuseli by ,mr4 ,alderman ,boydell1 for the ,shakspeare ,gallery1 enabled him to save some money2 he therefore proceeded with a degree of confidence in the great work which he had for some years meditated1 and on which he was now actively employed1--the pictures which were to form the ,milton ,gallery4 ,in aid of these means1 however1 he expected to be able to maintain himself1 during the execution of the work1 by painting occasionally small pictures for the printsellers and booksellers1 on whom the historical painters of this country have principally depended for support4 ,but in this he was in a great measure disappointed1 for his competitors in the art raised a report1 that his time was so much occupied in a scheme of such magnitude from ,milton1 that he had no leisure for any other subject1--hence their usual commissions began to decline1 and at length almost ceased4 ,fuseli felt this disappointment of his hopes1 and in a letter to ,mr4 ,roscoe says1 ,i am convinced that of all the lies ,nero told1 that in which he asserts art was supported by all the earth1 was the most atrocious2 and although laudatur et alget seems to be intended for my motto1 and though despondence often invades my pillow1 yet my head and hand still keep on steady in the prosecution of my great work4 ,may the hope which carries me on1 not prove delusive4 ,the monotony of painting from one author1 however1 was in a degree broken by the variety of subjects which ,milton's poetical works afford1 for he could at will turn from grave to gay3 this transition1 ,fuseli often acknowledged1 afforded him considerable relief and pleasure4 ,in the year #agic1 the ,rev4 ,r4 ,a4 ,bromley1 rector of ,st4 ,mildred's in the ,poultry1 issued proposals for publishing by subscription1 two large quarto volumes of ,a ,philosophical and ,critical ,history of the ,fine ,arts1 more especially ,painting2 and at the instance of ,mr4 ,west1 the ,royal ,academy subscribed for a copy4 ,the first volume appeared early in #agid1 and the author1 after having discussed and criticised the works of ,michael ,angelo and ,raphael1 thus expresses himself3--,the dignity of moral instruction is degraded whenever the pencil is employed on frivolous1 whimsical1 and unmeaning subjects4 ,on this head1 it is to be feared1 there ever will be too much cause for complaint1 because there ever will be persons incapable of solidity1 although very capable of executing this art with power3 strength of understanding1 and ability in art or science1 are very different things2 they are derived from different sources1 and they are perfectly independent of each other4 ,the one can no more be instrumental to the communication of the other1 than either can communicate temper or disposition4 ,the finest art in the world may therefore be combined with the lightest and most superficial mind4 ,books are written of a light and fantastic nature by those who cannot write otherwise1 and yet will write something4 ,and so it is with painting2 the mind of the artist can but give such subjects as are consecutaneous to its turn4--,the ,nightmare1 ,little ,red ,ridinghood1 ,the ,shepherd's ,dream1 or any dream that is not marked in authentic history as combined with the important dispensations of ,providence1 and many other pieces of a visionary and fanciful nature1 are speculations of as exalted a stretch in the contemplation of such a mind1 as the finest lessons as were ever drawn from religion1 or morals1 or useful history2 and yet the painter who should employ his time on such subjects1 would certainly amuse the intelligent no more than the man who should make those subjects the topics of a serious discourse4 ,but what good has the world1 or what honour has the art1 at any time derived from such light and fantastical speculations8 ,if it be right to follow ,nature1 there is nothing of her here1--all that is presented to us is a reverie of the brain4 ,if it be allowable to cultivate fancy1 that which has little or nothing of nature in its composition becomes ridiculous4 ,a man may carry the flights of imagination even within the walks of the chastest art or science1 till they become mere waking dreams1 as wild as the conceits of a madman4 ,the author of ,observations on ,fresnoy de ,arte very properly calls these persons1 ',libertines of painting3' as there are libertines of religion1 who have no other law but the vehemence of their own inclinations1 so these have no other model1 he says1 but a rodomontado genius1 which shews us a wild or savage nature that is not of our acquaintance1 but of a new creation4 ,if not in subjects altogether1 yet in manner1 one of the first examples of this kind1 if not the very first1 appeared about the latter end of the sixteenth century1 in a ,neapolitan1 who is commonly known by the name of ,giuseppe d',arpino4 ,after having thus openly condemned some of the subjects painted by ,sir ,joshua ,reynolds and ,fuseli1 the author shortly after launches out in unqualified praise of the works of ,west1 particularly his ,death of ,wolfe1 of which he gives an elaborate description1 and concludes by considering it as one of the most genuine models of historic painting in the world4 ,the series of pictures painted by ,barry1 which adorns the great room of the ,society of ,arts in the ,adelphi1 are also eulogized by him4 ,it was generally known to the academicians1 that ,mr4 ,bromley had assisted ,mr4 ,west in arranging and getting up the discourses which the latter delivered to the ,royal ,academy2 and it was conjectured that ,mr4 ,west had given his friend some of the observations on modern art1 even those in praise of his own works4 ,these circumstances1 and ,mr4 ,bromley's strictures upon a living artist 7,fuseli71 disgusted many of the members of the ,royal ,academy1 and they requested ,fuseli not only to animadvert upon them1 but to prove 7what he broadly asserted7 that ,mr4 ,bromley did not understand the subject1 and that he was equally ignorant of the classical authorities which he quoted in his ,dissertation upon ,ancient ,art4 ,fuseli immediately undertook the task1 and published in a journal1 a letter addressed to ,mr4 ,bromley1 pointing out a variety of errors in his work4 ,i regret1 after having employed much industry to find this1 that ,i have not succeeded4 ,mr4 ,bromley answered it by publishing two letters in the ,morning ,herald of the #abth and #ahth of ,march #agid1 in which he deeply complains of the injury he sustained1 as an author1 by the observations of ,fuseli2 admits that several of these are correct which regard classical quotations1 but shields himself by stating that his manuscript was right1 and that the errors are to be attributed to the printer4 ,fuseli's letter1 however1 made so deep an impression1 that the ,academy were about to reject the book altogether1 as unworthy a place in their library2 but after some debate1 they came to the resolution to allow the first volume to remain there1 but to withdraw the subscription for the second4 ,and on the #bjth of ,february1 #agid1 at a general meeting of ,academicians1 they came to this resolution1 ,that ,mr4 ,fuseli has conducted himself properly in his remarks on ,mr4 ,bromley's book4 ,in consequence of the opposition of ,fuseli1 the second volume was never published4 ,in #agid1 ,fuseli painted for ,mr4 ,seward ,the ,conspiracy of ,catiline4 ,this gentleman was so much pleased with the picture1 that he wrote the following verses1 which were published in the ,whitehall ,evening ,post1 in the ,december that year1 and copied into the ,european ,magazine1 for ,january #agie4 ,,to ,,henry ,,fuseli1 ,,esq4 ,r4,a4 ,,on ,,his ,,late ,,picture ,,of ,,the ,,conspiracy ,,of ,,catiline4 ,artist sublime6 with every talent blest1 ,that ,buonarroti's great and awful mind confest2 ,whose magic colours1 and whose varying line ,embody things1 or human or divine2 ,behold the effort of thy mastering hand1 ,see ,catilina's parricidal band1 ,by the lamp's tremulous1 sepulchral light1 ,profane the sacred silence of the night2 ,to ,hell's stern ,king their curs'd libations pour1 ,while the rich goblet foams with human gore4 ,see how1 in full and terrible array1 ,their fatal poignards they at once display1 ,direly resolving1 at their ,chief's behest1 ,to sheath them only in their ,country's breast4 ,too well pourtray'd1 the scene affects our sight ,with indignation1 horror1 and affright4 ,then quit these orgies1 and with ardent view ,fam'd ,angelo's advent'rous track pursue2 ,let him extend thy#dd terrible career ,beyond the visible diurnal sphere1 ,burst ,earth's strong barrier1 seek th' abyss of ,hell1 ,where sad ,despair and ,anguish ever dwell2 ,in glowing colours to our eyes disclose ,the monster ,sin1 the cause of all our woes2 ,to our appall'd and tortur'd senses bring ,death's horrid image1 ,terror's baneful ,king2 ,and at the last1 the solemn1 dreadful hour1 ,we all may bless thy pencil's saving power2 ,our danger from thy pious colours see1 ,and owe eternity of bliss to thee4 ,then to the ,heaven of heavens ascend1 pourtray ,the wonders of th' effulgent realms of day2 ,around thy pallet glorious tints diffuse1 ,mix'd from th' ethereal arch's vivid hues2 ,with every grace of beauty and of form1 ,inspire thy mind1 and thy rich fancy warm4 ,cherub and seraph1 now1 in burning row1 ,before the throne of ,heaven's high ,monarch bow1 ,and1 tun'd to golden wires1 their voices raise ,in everlasting strains of rapt'rous praise4 ,blest#de commentator of our ,nation's ,bard1 ,long lov'd with every reverence of regard1 ,whose matchless ,muse dares sing in strains sublime1 ,things unattempted yet in prose or rhyme6 ,the critic's painful efforts1 cold and dead1 ,merely inform the slow and cautious head2 ,whilst thy effusions1 like ,heaven's rapid fire1 ,dart through the heart1 and kindred flames inspire1 ,and at one flash1 to our astonish'd eyes1 ,objects of horror or delight arise4 ,proceed1 my friend2 a ,nation safely trust1 ,to merit splendidly and quickly just2 ,she the due tribute to thy toils shall pay1 ,and lavishly her gratitude display2 ,the ,bard himself1 from his ,elysium bowers ,contemplating thy pencil's plastic powers1 ,well pleas'd1 shall see his fame extend with thine1 ,and gladly hail thee1 as himself1 divine4 ,s4 ,in the years #agic and #agid1 ,fuseli painted four pictures for ,woodmason's ,illustrations of ,shakspeare1--two from subjects in the ,midsummer ,night's ,dream1 and the other two from ,macbeth4 ,three of these are known by engravings1 namely1 ,oberon squeezing the juice of the flowers into ,titania's eyes while she sleeps1--,titania awake1 attended by fairies1 and in raptures with ,bottom wearing the ass's head1--and ,macbeth meeting the ,witches on the heath4--,the fourth1 ,macbeth with the ,witches at the cauldron1 was chosen by ,sharpe1 and some progress made by him in the engraving of it1 when the scheme was abandoned4 ,fuseli was much gratified by my having subsequently purchased this picture1 and remarked1 ,you have another of my best poetical conceptions4 ,when ,macbeth meets with the witches on the heath1 it is terrible1 because he did not expect the supernatural visitation2 but when he goes to the cave to ascertain his fate1 it is no longer a subject of terror3 hence ,i have endeavoured to supply what is deficient in the poetry4 ,to say nothing of the general arrangement of my picture1 which in composition is altogether triangular1 7and the triangle is a mystical figure17 ,i have endeavoured to shew a colossal head rising out of the abyss1 and that head ,macbeth's likeness4 ,what1 ,i would ask1 would be a greater object of terror to you1 if1 some night on going home1 you were to find yourself sitting at your own table1 either writing1 reading1 or otherwise employed8 would not this make a powerful impression on your mind8 ,fuseli always complained of not being able to effect all he wished in these pictures1 in consequence of being limited to shape and size1 as it was stipulated by ,woodmason1 that those painted for his gallery should be #e feet #f inches high1 by #d feet #f inches broad4 ,it was not until his own means were exhausted that ,fuseli could bring himself to solicit pecuniary assistance from others for the accomplishment of his plan of the ,milton ,gallery4 ,as soon1 however1 as it was understood that he must either give it up1 or be supported in it1 six of his intimate friends 7in #agig7 immediately came forward1 and each agreed to advance him fifty pounds per annum1 until the task was completed4 ,it gives me pleasure to place the names of these gentlemen on record4 ,messrs4 ,coutts1 ,lock1 ,roscoe1 ,g4 ,steevens1 ,seward1 and ,johnson4 ,it was stipulated that they were to be paid out of the proceeds of the exhibition of the ,milton ,gallery1 or take pictures or drawings to the value of their contributions4 ,mr4 ,coutts1 in addition to his annuity1 with that characteristic spirit of true liberality which ever marked his conduct1 and with that modesty which generally accompanies such feelings1 made a donation of a hundred pounds1 under the injunction that his name should not appear in the transaction2 and ,mr4 ,roscoe gave proofs of the sincere friendship which he entertained for the artist1 by not only buying pictures to a considerable amount1 but also by inducing his friends and connexions at ,liverpool to make purchases4 ,the interest which ,mr4 ,roscoe took in ,fuseli's labours is shown in the following letter3-- ,,my ,,dear ,,friend1 ,i am much mortified that ,i shall not have the pleasure of seeing you in ,liverpool2 but1 at the same time1 if your bringing your works before the public next ,spring depends on your close attention to them at present1 it will1 ,i confess1 in a great degree reconcile me to my disappointment4 ,i look upon this as the period which will shew you to the public in your true light1 and obtain for you that universal suffrage which will secure you a great and lasting reputation4 ,inclosed is a bill from ,clarke's for a second hundred pounds1 of which you will be pleased to acknowledge the receipt by a line1 when it comes to hand4 ,i consider you as connected in ,london with friends of more liberality than are generally met with1 and ,i esteem you as a cautious and provident man1 for an artist2 notwithstanding which1 ,i may be excused in suggesting to you1 that this exhibition should be wholly on your own account1 and should not be connected with any subsequent plan that may be proposed for publication of prints from the pictures1 c4 ,with respect to the mode of exhibiting the pictures1 ,i still think the least expensive will be to stucco the room with pannels1 with broad mouldings1 in imitation of frames1 which may be painted in a bold style1 to suit the pictures4 ,if this could be done in imitation of bronze1 it would have a grave and better effect for such subjects1 than if you even went to the expense of gilding1 which would be enormous4 ,i mention this1 because1 if you think the plan likely to answer1 the work should be done some time before1 that it may be sufficiently dry4 ,perhaps all this may be unnecessary1 and you have already decided on a better plan2 but ,i know you will attribute it to its proper motive4 ,my wife has been unwell for some time past1 owing1 ,i believe1 to nursing too long4 ,apropos--,i have just translated a poem on this subject1 in two capitoli from the ,italian of ,luigi ,tansillo1 in which he endeavours to prevail on the ladies to undertake that important duty to their children4 ,tansillo was contemporary with ,ariosto1 c41 and for purity of style is excelled by few of his countrymen4 ,i have sent my version to ,shepherd1 to revise1 c42 but am yet undecided whether ,i should publish it4#df--;,adieu1 my dear friend1 and believe me very truly and affectionately yours1 ,w4 ,roscoe4 ,liverpool1 #abth ,dec4 #agig4 ,the assistance afforded by these friends enabled ,fuseli to carry on steadily the grand work on which he was engaged1 and to this1 most probably1 the public owe many of the pictures of which the ,milton ,gallery was composed4 ,after acknowledging his gratitude to one of them 7,mr4 ,roscoe71 he thus expresses himself1 ,i shall now endeavour to carry through a work which ,i consider a monument of myself2 whatever ,i may be1 magnis tamen excido ausis1 if ,i do not succeed to give it excellence4 ,in #agie1 ,fuseli assisted his friend ,mr4 ,seward by contributing several articles to an amusing and instructive work known by the appellation of ,seward's ,anecdotes4 ,in #agif1 he painted a picture for ,macklin's ,gallery1 ,the ,vision of the ,candlesticks1 from the ,revelations of ,st4 ,john4 ,for this he chose what may be considered the most sublime moment1 the sudden appearance of the apparition and the trance of the saint2 but he always regretted that he was limited to size1 and tied too much to biblical precision by ,mr4 ,macklin1 instead of being allowed to exercise the full range of his fancy on a canvass of larger dimensions4 ,in the autumn of this year 7#agif71 ,mr4 and ,mrs4 ,fuseli1 with ,messrs4 ,opie and ,bonnycastle1 passed a few days at ,windsor2 the object of the two artists was not only to have some relaxation and to see the pictures1 but to examine critically the cartoons of ,raphael1 which were at this time in the ,castle4 ,an anecdote or two will show the disposition of the three men4 ,in their journey down by the stage-coach1 they were much annoyed by an outside passenger placing his legs over one of the windows4 ,opie at first gently remonstrated with him2 this1 however1 not producing the desired effect1 he pinched his legs1 but yet the nuisance continued2 at length the coach stopped at an inn4 ,opie1 being enraged1 exerted his ,herculean strength1 and pulled the person to the ground2 but this did not produce any rencontre4--,when at ,windsor1 the two painters endeavoured to palm the ,scriptural subjects of ,west upon ,bonnycastle for the cartoons of ,raphael2 but although he was not a competent judge of works of art1 yet he was too well read not to detect their intentions4 ,bonnycastle1 however1 wished to show his critical knowledge1 and ventured upon the observation usually made on the cartoon of ,the ,miraculous ,draught of ,fishes1 that the boat was not sufficiently large for the men1 much less for the lading4 ,fuseli instantly answered1 ,by ,g--d1 ,bonnycastle1 that is a part of the miracle4 ,being at ,windsor1 they went to ,eton ,college3 here the youths assembled about them1 asking the usual questions2 ,do you wish to see the ,library1 ,gentlemen1 and such like4 ,fuseli amused himself by answering them in ,latin2 but ,opie1 in his usual gruff manner1 said to the most prominent among them1 ,what do you want8 ,i cannot make out to what class of beings you belong1 being too little for a man1 and too large for a monkey4 ,this was resented as an insult by the mass2 and it was only by the great physical powers of ,bonnycastle and ,opie1 that they disengaged themselves and their companion from the crowd of boys who surrounded them4 ,fuseli was highly provoked1 and was apprehensive also of personal violence2 and when he got without the barrier1 almost breathless with rage1 he sat on a large stone by the side of the road and exclaimed1 ,i now wish ,i was the ,grand ,sultan1 for ,i would order my vizier to cut off the heads of these urchins from the rising of the sun until the going down thereof4 ,by indefatigable industry1 ,fuseli had now made considerable progress in the pictures which were to compose the ,milton ,gallery1 and those friends1 as well as many of the artists who had been allowed to see them as he proceeded1 felt confident of the ultimate success of the exhibition4 ,with such feelings his intimate friend ,sir ,thomas ,lawrence offered to contribute a picture gratuitously1 and ,mr4 ,opie tendered his services1 not only to paint some pictures1 but to manage the concern2 under the condition1 however1 that he was to be a sharer in the profits4 ,these offers ,fuseli politely but prudently declined1 being determined not to have any assistance whatever in a work1 which he wished should be a monument of himself1 and feeling1 perhaps1 that contrarieties of style would not be beneficial to the exhibition as a whole2 for his aim was more to give the sublime1 quiescent1 and playful imagery of the poet in his own powerful manner1 than to engage attention by colour or a brilliant execution of the pictures4 ,these observations are not however intended to depreciate the merits of the splendid picture painted from ,milton by ,sir ,thomas ,lawrence1 of ,satan calling up his ,legions1 which for a long period was a prominent feature in the collection of his ,grace the late ,duke of ,norfolk1 at his house in ,st4 ,james's ,square1 and which1 by the style of drawing as well as its tone of colour1 abundantly prove1 that this artist would have been equally distinguished for his powers in treating epic subjects as in portraits1 if he had employed his pencil exclusively thereon4 ,as soon as the intended exhibition was announced by the daily prints1 but before the doors of the ,milton ,gallery were opened1 the public mind was attempted to be biassed very unfairly by paragraphs in the newspapers calumniating the subjects as well as the execution of the pictures4 ,these critics considered that he had attempted to represent on canvass scenes adapted only to poetic imagery1 and thus transgressed the limits of the imitative art1 and that his figures were distorted1 and his colouring wanting both in force and brilliancy4 ,as it was evident that these observations could have proceeded only from some persons who had seen the pictures through the kindness of the painter1 ,fuseli considered his confidence betrayed and interests injured by those who came under the mask of friendship2 and he always held the opinion that the paragraphs in question were written by or at the instance of one or more of the then members of the ,royal ,academy4 ,as the mass of the public form their judgment of works of art more by what they are told by the diurnal prints1 than by what they feel or know1 there is no doubt that these unwarrantable criticisms had their effect in checking the desire of many persons to visit the exhibition4 ,fuseli1 however1 was sanguine as to the ultimate success of the ,milton ,gallery1 for he had yet to learn that he who had delineated the sublime and playful imagery of the poet1 was like the poet himself to accomplish his design under every discountenance1 and in the end to gain little or nothing by his performance4 ,for1 with feelings strongly in opposition to the opinion of ,dr4 ,johnson1 that we read ,milton for instruction1 retire harassed and overburthened1 and look elsewhere for recreation2 we desert our master and seek for companions2 ,fuseli wrote in large letters in the margin of a copy of the ,lives of the ,poets1 now in my possession1 in allusion to the passage in question1 ,i ,,do ,,not4 ,some of the judicious friends of ,fuseli formed a more correct notion of the feelings of the public than himself1 and were not therefore so sanguine as to the success of his exhibition2 this is manifest by the following letter from ,mr4 ,roscoe4 ,allerton1 #bdth ,may1 #agii4 ,,my ,,dear ,,friend1 ,my friend and neighbour ,mr4 ,shepherd1 who is already known to you1 being about to take his departure with ,mrs4 ,shepherd and her sister on a journey to ,london1 ,i avail myself of the opportunity it affords of informing you1 without being questioned on the subject1 that ,i am yet in existence1 and1 what ,i know you will be glad to hear1 in better health1 and consequently better spirits1 than when ,i last wrote to you4 ,from the experience ,i have hitherto had of my new residence1 it promises to be productive of every advantage which ,i expected to find from it3--good air1 opportunity or rather necessity of exercise1 and a degree of retirement which is indispensably necessary to my peace of mind4 ,the latter you will perhaps believe when ,i tell you that ,i am a mile and a half from any neighbour2 but1 at that distance1 ,i have on every side of me some of my most intimate and valuable friends4 ,such being the advantage ,i enjoy here1 you will not wonder that ,i am exerting myself to secure the means of remaining here1 without the necessity of further interference in the tumult of the town1 which ,i hope in a short time ,i shall be able to do4 ,i consider it as one great secret in the art of living1 especially at a time when all the necessaries of life are so high1 to obtain subsistence immediately from the earth1 and1 accordingly1 ,i am surrounded with cows1 hogs1 turkies1 geese1 cocks1 hens1 and pigeons1 which1 according to the good old maxim1 7take1 ,peter1 kill and eat17 ,i plunder and slaughter without mercy2 and shall be very angry with you if you tell me 7as is not unlikely7 that ,i am keeping up my paltry existence at the expense of the lives of a number of beings1 each of which is ten times happier than myself4 ,i was struck with the sight of an advertisement in the ,courier1 which announced to me1 in common with all the world1 that the ,exhibition of the ,pictures of ,milton would be opened in a few days4 ,i rejoice to find your exertions so nearly brought to a conclusion1 and ,i hope ,i may say1 so nearly crowned with success4 ,i have sometimes regretted that your intention of painting a series of pictures from ,shakspeare was frustrated2 but1 after what ,i have seen of ,milton1 ,i am convinced that it was he alone could have afforded sufficient scope for your powers4 ,i will not pretend to prophesy1 nor1 to say the truth1 have ,i any very high opinion of the taste of the present day2 but if the public are insensible to the feast which will now be spread before them1 ,i shall be wholly hopeless of their amendment4 ,that they will see with indifference is impossible2 and this circumstance alone is favourable1 however they may be induced to decide4 ,believe me1 my dear friend1 ,i do not turn a deaf ear to the claims you have on my friendship and affection2 and if ,i should be able to produce a few lines worthy of the subject1 there is nothing ,i should do with so much pleasure as to express the opinion ,i have of your talents4 ,i am affectionately your's1 ,w4 ,roscoe4 ,in #agih1 ,mr4 ,johnson was brought to trial for selling the ,reverend ,gilbert ,wakefield's political works1 and being found guilty was sentenced by the ,court to pay a fine to the ,king of #ej1 and to be imprisoned in the ,king's ,bench for nine months4 ,johnson employed ,mr4 ,erskine 7afterwards ,lord ,erskine7 as his counsel2 and ,fuseli1 in common with most of ,mr4 ,johnson's friends1 considered that the prosecution was an arbitrary act on the part of the ,government1 because every bookseller sold the works in question1 and all with impunity1 except ,johnson2 and that ,erskine1 in his defence1 lost sight of the interest of his client1 in the wish to shew his own political opinions1 and to make a display of his oratorical powers4 ,mr4 ,johnson1 on his removal to the ,king's ,bench1 occupied the ,marshal's house1 and gave there his usual weekly dinners to literary and scientific men4 ,fuseli was warned by his friends of the existence of the ,alien act1 and advised not to visit a man in the ,king's ,bench ,prison who had been so marked by the ,government4 ,but his friendship for ,johnson was greater than any prudential motives of this nature2 and he therefore visited him as frequently as he had previously done in his own house4 ,the following anecdote respecting ,lord ,erskine1 who subsequently was intimate with ,fuseli1 was told me by ,mr4 ,bonnycastle4 ,he and ,johnson were1 just previously to the trial1 walking through ,lincoln's ,inn on their way to dine with ,fuseli1 and met ,erskine there accidentally1 who had several dogs with him1 animals of which he was particularly fond4 ,as soon as he saw them1 he cried out1 ,johnson1 ,i have something particular to say to you1 and then occupied him in close conversation1 apart from ,bonnycastle1 for nearly a quarter of an hour4 ,at length ,mr4 ,johnson took his leave2 and when he joined ,bonnycastle1 said1 ,you cannot even guess the topic of our conversation4 ,doubtless1 said the latter1 your forthcoming trial4 ,not a bit1 said ,johnson2 he never even alluded to it1 and the time was wholly occupied with his opinions about ,brothers the ,prophet1 and in asking questions respecting a book 'on the ,revelations1' lately offered me for publication4 ,when ,johnson was liberated1 he1 ,fuseli1 and ,mr4 ,sturch1 went to ,liverpool together to enjoy1 for three or four weeks1 that relaxation which was considered necessary for ,johnson's health4 ,on the #bjth of ,may1 #agii1 the rooms in ,pall ,mall1 formerly occupied by the ,royal ,academy1 were opened for the exhibition of the ,milton ,gallery3 these ,fuseli rented at #bajl4 per annum4 ,this exhibition consisted of forty pictures of different sizes2 but1 to give an idea of the extent of the undertaking1 the following are the dimensions of some of the principal ones4 ,satan starting from the touch of ,ithuriel's spear1 and ,satan calling up his ,legions1 each #ac;ft4 by #ab4--,satan encountering ,death1 ,sin interposing2 ,adam and ,eve first discovered by ,satan2 ,satan flying up from ,sin and ,death in his enterprise2 and ,the ,vision of ,noah3 each #ac;ft4 by #aj4 ,death and ,sin bridging the waste of ,chaos1 and ,the ,vision of the ,lazar ,house1 each #aa;ft4 by #aj4 ,the ,creation of ,eve2 ,christ on the ,pinnacle of the ,temple2 ,the ,fall of ,satan2 ,adam resolved to share the ,fate of ,eve2 and ,eve at the ,tree of ,knowledge3 each #aj;ft4 by #g4 ,to those who had a feeling for the highest class of art1 epic subjects1 treated with dramatic power1 this exhibition afforded a high treat4 ,but1 that some judgment may be formed of its extent and variety1 the following descriptive catalogue of the pictures drawn up by ,fuseli himself1 is here given1 to which is added1 as far as ,i can ascertain them1 the names of the persons in whose possession these pictures now are4 ,a ,,catalogue ,,of ,,the ,,milton ,,gallery1 ,,as ,,it ,,was ,,opened ,,the #bj,,th ,,of ,,may1 #agii4 ,,paradise ,,lost4 ,,picture ,i4--,a ,,sketch4 ,,satan risen from the ,flood1 ,,beelzebub rising4 ,forthwith upright he rears from off the pool ,his mighty stature2 on each hand the flames ,driv'n backward slope their pointing spires1 and roll'd ,in billows1 leave i' th' midst a horrid vale4 ----,him follow'd his next mate1 ,both glorying to have 'scap'd the ,stygian flood ,as ,gods---- ,book ,i4 v4 #bba1 #bch4 ,in the possession of ,sir ,thomas ,lawrence4 ,,picture ,,ii4 ,,satan calling up his ,legions4 ----,on the beach ,of that enflamed sea he stood1 and call'd ,his legions1 ,angel forms1 who lay entranc'd ,thick as autumnal leaves1 that strow the brooks ,in ,vallombrosa4---- ,he call'd so loud1 that all the hollow deep ,of ,hell resounded4---- ,awake1 arise1 or be for ever fall'n4 ,they heard1 and were abash'd1 and up they sprung---- ,book ,i4 v4 #bii1 #cad1 #ccj4 ,in the possession of ,his ,grace the ,duke of ,wellington4 ,,picture ,,iii4--,a ,,sketch4 ,,satan haranguing his ,host4 ,he spake3 and to confirm his words1 out flew ,millions of flaming swords1 drawn from the thighs ,of mighty ,cherubim4---- ,book ,i4 v4 #ffc4 ,,picture ,,iv4 ,figures from a simile in allusion to the contracted form of the ,spirits assembled in the new-raised ,hall of ,,pand,,monium1 illustrated by a simile from ----,fairy elves1 ,whose midnight revels by a forest side ,or fountain some belated peasant sees1 ,or dreams he sees1 while over head the moon ,sits arbitress1 and nearer to the earth ,wheels her pale course1 they on their mirth and dance ,intent1 with jocund music charm his ear2 ,at once with joy and fear his heart rebounds4 ,book ,i4 v4 #gha4 ,,picture ,v4 ,,satan encount'ring ,,death1 ,,sin interposing4 ----,and now great deeds ,had been achiev'd1 whereof all ,hell had rung1 ,had not the snaky ,sorceress that sat ,fast by ,hell gate1 and kept the fatal key1 ,ris'n1 and with hideous outcry rush'd between4 ----,she finish'd1 and the subtle ,fiend his lore ,soon learn'd1 now milder4---- ,book ,,ii4 v4 #gbb1 #hae4 ,in the possession of ,sir ,thomas ,lawrence4 ,,picture ,,vi4 ,the ,birth of ,,sin4 ,all on a sudden miserable pain ,surpris'd thee1 dim thine eyes1 and dizzy swam ,in darkness1 while thy head flames thick and fast ,threw forth1 till on the left side opening wide1 ,likest to thee in shape and count'nance bright1 ,then shining heav'nly fair1 a ,goddess arm'd ,out of thy head ,i sprung4---- ,book ,,ii4 v4 #geb4 ,in the possession of ,samuel ,cartwright1 ,esq4 ,,picture ,,vii4 ,,sin pursued by ,,death4 ----,i fled1 and cry'd out ,death2 ,i fled1 but he pursued---- ----,and swifter far ,me overtook4---- ,book ,,ii4 v4 #ghg4 ,in the possession of ,john ,knowles1 ,esq4 ,,picture ,,viii4 ,,lapland ,,orgies1 the ,hell-hounds round ,,sin compared to those that ----follow the night-hag1 when call'd ,in secret1 riding through the air she comes1 ,lur'd with the smell of infant blood1 to dance ,with ,lapland witches1 while the lab'ring moon ,eclipses at their charms4---- ,book ,,ii4 v4 #ffb4 ,in the possession of ,john ,knowles1 ,esq4 ,,picture ,,ix4 ,,satan',s ascent from ,hell4 ----,at last his sail-broad vans ,he spreads for flight1 and in the surging smoke ,uplifted spurns the ground4---- ,book ,,ii4 v4 #ibg4 ,in the possession of ,sir ,thomas ,lawrence4 ,,picture ,x4 ,a ,,gryphon pursuing an ,,arimaspian4 ,a comparison of ,,satan',s exertions to force his way through the realm of ,,chaos4 ,as when a ,gryphon through the wilderness ,with winged course1 o'er hill or moory dale1 ,pursues the ,arimaspian1 who by stealth ,had from his wakeful custody purloin'd ,the guarded gold3 so eagerly the ,fiend---- ,book ,,ii4 v4 #idc4 ,in the possession of ,john ,knowles1 ,esq4 ,,picture ,,xi4 ,,satan bursts from ,,chaos4 ,he ceas'd2 and ,satan stay'd not to reply1 ,but---- ,springs upward like a pyramid of fire4 ,book ,,ii4 v4 #ajaj4 ,in the possession of the ,countess of ,guilford4 ,,picture ,,xii4 ,,ulysses between ,,scylla and ,,charybdis4 ,an exemplification of ,,satan straitened in his passage to ,light4 ----,harder beset ,than when ,ulysses on the larboard shunn'd ,charybdis1 and by th' other whirlpool steer'd ,so he with difficulty and labour hard ,mov'd on1 with difficulty and labour he4 ,book ,,ii4 v4 #ajai4 ,in the possession of the ,countess of ,guilford4 ,,picture ,,xiii4 ,,adam and ,,eve first discovered by ,,satan4 ,under a tuft of shade that on a green ,stood whisp'ring soft1 by a fresh fountain side ,they sat them down4 ,nor gentle purpose1 nor endearing smiles ,wanted1 nor youthful dalliance as beseems ,fair couple1 link'd in happy nuptial league1 ,alone as they---- ----aside the ',spirit' turn'd ,for envy1 yet with jealous leer malign ,ey'd them askance4---- ,book ,,iv4 v4 #cbe1 #ccg1 #ejb4 ,,picture ,,xiv4 ,,satan surprised at the ear of ,,eve1 starting from the touch of ,,ithuriel',s ,spear4 ,him thus intent ,ithuriel with his spear ,touch'd lightly2---- ----up he starts ,discovered and surpris'd4 ,as when a spark ,lights on a heap of nitrous powder1---- ----the smutty grain ,with sudden blaze diffus'd inflames the air3 ,so started up in his own shape the ,fiend4 ,back stept those two fair ,angels half amaz'd ,so sudden to behold the grisly king4 ,book ,,iv4 v4 #haj4 ,in the possession of ,john ,angerstein1 ,esq4 ,,picture ,,xv4--,a ,,sketch4 ,,satan discovering his fate in the ,scale aloft1 flying from ,,gabriel and the ,angelic ,squadron4 ----,on th' other side ,satan alarm'd ,collecting all his might dilated stood4---- ----,the ,fiend look'd up1 and knew ,his mounted scale aloft3 nor more2 but fled ,murm'ring1 and with him fled the shades of night4 ,book ,,iv4 v4 #ihe1 #ajac4 ,,picture ,,xvi4 ,the ,dream of ,,eve1 fancying to have tasted the fruit from the ,tree of interdicted ,knowledge1 with ,one shap'd and wing'd like one of those from ,heaven4 ----,forthwith up to the clouds ,with him ,i flew1 and underneath beheld ,the earth outstretch'd immense---- ----,suddenly ,my guide was gone1 and ,i1 methought1 sunk down1 ,and fell asleep2---- ,book ,v4 v4 #ee1 #hf1 #ij4 ,in the possession of ,wm4 ,young ,ottley1 ,esq4 ,,picture ,,xvii4 ,the creation of ,,eve1 as related by ,,adam4 ,abstract as in a trance methought ,i saw1 ,though sleeping1 where ,i lay1 and saw the shape ,still glorious before whom awake ,i stood2 ,who stooping open'd my left side1 and took ,from thence a rib---- ,under his forming hands a creature grew1 ----,so lovely fair1 ,that what seem'd fair in all the world1 seem'd now ,mean1 or in her summ'd up4---- ,book ,,viii4 v4 #dfb1 #dgj4 ,,picture ,,xviii4 ,,eve1 new created1 led to ,,adam4 ----,on she came1 ,led by her heav'nly ,maker1---- ,and guided by his voice1---- ,grace was in all her steps1 ,heav'n in her eye1 ,i overjoy'd could not forbear aloud4 ,this turn has made amends4---- ,book ,,viii4 v4 #dhd4 ,in the possession of ,john ,angerstein1 ,esq4 ,,picture ,,xix4 ,,eve at the forbidden ,tree4 ----,her rash hand in evil hour ,forth reaching to the fruit1 she pluck'd1 she eat2 ----,back to the thicket slunk ,the guilty serpent4---- ,book ,,ix4 v4 #ghj4 ,,picture ,,xx4 ,,adam resolved to share the fate of ,eve2 the ,guardian ,angels leaving the ,garden4 ----if death ,consort with thee1 death is to me as life2 ,our state cannot be sever'd1 we are one1 ,one flesh2 to lose thee were to lose myself4 ,so ,adam1 and thus ,eve to him reply'd4 ,o glorious trial of exceeding love1 ,illustrious evidence1 example high6 ,so saying1 she embrac'd him1 and for joy ,tenderly wept---- ,up into ,heav'n from ,paradise in haste ,th' angelic guards ascended1 mute and sad ,for ,man---- ,book ,,ix4 v4 #iec1 #ieh1 #iij4--;,book ,x4 v4 #ag4 ,,picture ,,xxi4 ,,eve1 after the ,sentence and departure of the ,judge1 despairing1 supported by ,,adam4 ----,with swift ascent he up return'd4 ,she ended here1 or vehement despair ,broke off the rest2 so much of death her thoughts ,had entertain'd1 as dy'd her cheeks with pale4 ,but ,adam with such counsel nothing sway'd1 ,to better hopes his more attentive mind ,lab'ring had raised4---- ,book ,x4 v4 #bbd1 #ajjg4 ,,picture ,,xxii4 ,,death and ,,sin bridging the 'waste' of ,,chaos1 and met by ,,satan on his return from ,earth4 ----,the aggregated soil ,death with his mace petrific1 cold and dry1 ,as with a trident smote1---- ----and the mole immense wrought on ,over the foaming deep high arch'd1 a bridge ,of length prodigious4---- ----when behold ,satan in likeness of an ,angel bright---- ----,sin1 his fair ,enchanting daughter1 thus the silence broke3 ,o ,parent1 these are thy magnific deeds4 ,book ,x4 v4 #bic1 #cjj1 #cbf1 #ceb4 ,in the possession of the ,countess of ,guilford4 ,,picture ,,xxiii4 ,,satan discovered on his ,throne1 after his return from ,earth4 ----,down a while ,he sat1 and round about him saw unseen3 ,at last as from a cloud his fulgent head ,and shape star-bright appear'd---- ----all amaz'd ,at that so sudden blaze the ,stygian throng ,bent their aspect---- ----loud was th' acclaim3 ,forth rush'd in haste the great consulting peers1 ,rais'd from their dark ,divan4---- ,book ,x4 v4 #ddg1 #deb1 #dee4 ,,picture ,,xxiv4 ,the ,vision of the ,lazar-house4 ----,immediately a place ,before his eyes appear'd1 sad1 noisome1 dark1 ,a lazar-house it seem'd1 wherein were laid ,numbers of all diseas'd1 all maladies4 ,demoniac phrenzy1 moping melancholy1 ,and moon-struck madness1 pining atrophy4 ,marasmus---- ,dire was the tossing1 deep the groans2 ,and over them triumphant ,death his dart ,shook1 but delay'd to strike1 though oft invok'd4 ,book ,,xi4 v4 #dgg1 #dhe4 ,in the possession of the ,countess of ,guilford4 ,,picture ,,xxv4 ,the ,vision of the ,deluge4 ----the thicken'd sky ,like a dark ceiling stood2 down rush'd the rain ,impetuous---- ----,sea cover'd sea1 ,sea without shore---- ,how didst thou grieve then1 ,adam1 to behold ,the end of all thy offspring---- ,depopulation6 ,book ,,xi4 v4 #gdb1 #ged4 ,in the possession of ,john ,angerstein1 ,esq4 ,,picture ,,xxvi4 ,the ,vision of ,noah4 ----from his ark ,the ancient sire descends with all his train2 ,then with uplifted hands1 and eyes devout1 ,grateful to ,heav'n1 over his head beholds ,a dewy cloud1 and in the cloud a bow4 ,book ,,xi4 v4 #hfa4 ,in the ,church at ,luton1 ,bedfordshire4 ,,picture ,,xxvii4 ,the dismission of ,,adam and ,,eve from ,paradise4 ,in either hand the hast'ning ,angel caught ,our ling'ring parents1 and to th' eastern gate ,led them direct1 and down the cliff as fast ,to the subjected plain2 then disappear'd4 ,they looking back1 all th' eastern side beheld ,of ,paradise1 so late their happy seat1 ,wav'd over by that flaming brand1 the gate ,with dreadful faces throng'd and fiery arms3 ,some natural tears they dropt4---- ,book ,,xii4 v4 #fcg4 99 99 99 99 99 ,,paradise ,,regained4 ,,picture ,,xxviii4 ,,jesus on the pinnacle of the ,temple4 ,there on the highest pinnacle he set ,the ,son of ,god1 and added thus in scorn4 ,there stand1 if thou wilt stand2 to stand upright ,will ask thee skill4---- ,to whom thus ,jesus2 also it is written1 ,tempt not the ,lord thy ,god3 he said and stood3 ,but ,satan smitten with amazement fell4 ,book ,,iv4 v4 #edi1 #efj4 99 99 99 99 99 ,,hymn ,,on ,,the ,,nativity4 ,,picture ,,xxix4 ,,mary and ,,jesus4 ,the ruin of ,paganism4 ,the ,oracles are dumb1 ,no voice or hideous hum ,runs through the arched roof in words deceiving4 ,apollo from his shrine ,can no more divine1 c4 ,the ,libyc ,hammon shrinks his horn2 ,the brutish ,gods of ,nile as fast1 ,isis and ,orus1 and the dog ,anubis haste4 ,stanza xix4 xxii-iii4 ,in the possession of ,john ,knowles1 ,esq4 99 99 99 99 99 ,l',,allegro4 ,,picture ,,xxx4 ,faery ,mab4 ,in the possession of the ,countess of ,guilford4 ,,picture ,,xxxi4 ,the ,friar's ,lanthorn4 ,in the possession of ,watts ,russell1 ,esq4 ,,picture ,,xxxii4 ,the ,lubbar ,fiend4 ,with stories told of many a feat1 ,how faery ,mab the junkets eat1 ,she was pinch'd1 and pull'd she said1 ,and he by friar's lanthorn led ,tells how the drudging ,goblin swet1 ,to earn his cream-bowl duly set1 ,when in one night1 ere glimpse of morn1 ,his shadowy flail hath thresh'd the corn1 ,that ten day-lab'rers could not end2 ,then lies him down the lubbar fiend1 ,and stretch'd out all the chimney's length1 ,basks at the fire his hairy strength4 ,v4 #aja4 ,picture ,,xxxi4 receives still better light from the following lines in ,paradise ,lost1 ,book ,,ix4 v4 #fcd1 c4 ----as when a wand'ring fire1 ,which oft1 they say1 some evil ,sp'rit attends1 ,hovering and blazing with delusive light1 ,misleads th' amaz'd night-wand'rer from his way ,to bogs and mires1 and oft through pond or pool1 ,there swallow'd up and lost1 from succour far4 99 99 99 99 99 ,,il ,,pensieroso4 ,,picture ,,xxxiii4 ,silence4 ,some still removed place---- ,where glowing embers through the room ,teach light to counterfeit a gloom4 ,v4 #gh4 ,in the possession of the ,countess of ,guilford4 ,,picture ,,xxxiv4 ,,chremhild meditating revenge over the ,sword of ,,sigfrid4 ,or call up him that left half told ,the story of ,cambuscan bold---- ,and if aught else great bards beside ,in sage and solemn tunes have sung---- ,v4 #aji1 #aaf4 99 99 99 99 99 ,,comus4 ,,picture ,,xxxv4 ,the ,palace and the ,rout of ,,comus2 the ,,lady set in the enchanted ,chair1 to whom he offered his ,glass2 the ,brothers rushing in with ,swords drawn1 wrest the ,glass out of his hand2 his ,rout flying4 ,,picture ,,xxxvi4 ,orgies of ,,cotytto4 ,,bapt preparing a ,philtrum4 ,see the ,vth ,epode of ,horace4 ,venus now wakes1 and wakens ,love4 ,come let us our rites begin---- ,hail ,goddess of nocturnal sport1 ,dark-veil'd ,cotytto---- ,stay thy cloudy ebon chair1 ,wherein thou rid'st with ,hecat'1 and befriend ,us thy vow'd priests1 till utmost end ,of all thy dues be done4---- ,v4 #abd1 #abh1 #acd4 99 99 99 99 99 ,,lycidas4 ,,picture ,,xxxvii4 ,solitude4 ,twilight4 ,under the opening eyelids of the morn1 ,what time the gray-fly winds her sultry horn4 ,v4 #bf-h4 ,in the possession of the ,countess of ,guilford4 99 99 99 99 99 ,,picture ,,xxxviii4 ,,milton1 as a ,boy with his ,mother4 ,in the possession of ,sir ,francis ,burdett1 ,bart4 ,,picture ,,xxxix4 ,,milton1 when a ,youth4 ,,picture ,,xl4 ,,milton1 dictating to his ,daughter4 ,in the possession of the ,marquis of ,bute4 ,the ,vision of the ,lazar-house was justly considered by the best judges in the art1 to be the chef-d'oeuvre of the ,gallery4 ,it is a composition of seventeen figures1 and parts of figures1 in which the painter creates both terror and pity in the spectator1 by judiciously excluding most of those objects represented by the poet as suffering under bodily diseases calculated to create disgust1 and confining himself chiefly to the representation of the maladies of the mind1 which are so forcibly described by the passage1 ,demoniac ,phrensy1 moping ,melancholy1 ,and moon-struck ,madness---- ,it would be a vain attempt1 by words1 to describe this ,gallery1 so as to do justice to the grandeur of the ideas and of the drawing1 more particularly in the pictures of ',satan calling up his ,legions2' ',satan encountering ,death1 and ,sin interposing2' ',satan surprised at the ear of ,eve2' ',death and ,sin bridging of ,chaos1' or1 in that of ',sin pursued by ,death2'--they must be seen to be appreciated4 ,but ,fuseli shone not only in the grand1 the sublime1 and pathetic scenes1 but also in the playful ones4 ,how rare a quality it is for the same mind to direct its efforts to the ,pensieroso1 and1 at command1 to divert its attention to the ,allegro1 and succeed in both6--,but such were the powers of the painter in question1 as well as of the poet4 ,unfortunately for ,fuseli1 some of the newspapers of the day were so inimical to this exhibition that it was difficult for him to get an advertisement inserted1 and even money would not induce the editors to give a place to any paragraph which his friends wished to insert in its favour4 ,the beautiful lines 7which will be found in the ,appendix7 from the pen of ,william ,roscoe1 ,esquire1 lay in the hands of the editor of a popular paper for some weeks before he gave them insertion4 ,the sum charged the public for viewing this ,gallery was one shilling1 and for the descriptive catalogue1 sixpence4 ,the receipts of the exhibition during the first month amounted only to one hundred and seventeen pounds1 and the two succeeding ones were each even less than this sum2 so that when it was closed1 at the end of ,july1 the whole of the money taken at the doors was not adequate to the payment of the rent of the premises and the expenses incurred for advertisements and attendants4 ,fuseli was somewhat dismayed by this1 and thus expressed himself3 ,i have dreamt of a golden land1 and solicit in vain for the barge which is to carry me to its shore4 ,but the consciousness of his own merit did not allow him to sink under the disappointment2 he determined to try the effect of another season1 and laboured diligently upon pictures to be then added to the ,gallery4 ,barry1 who was at this time professor of painting to the ,royal ,academy1 had for a long period made himself obnoxious to the members1 first by his undeserved attacks upon the works of his earliest and best friend in the art1 ,sir ,joshua ,reynolds1 and afterwards by occasionally delivering in his lectures the most severe criticisms upon the works of living artists1 and among others upon those of ,west1 the then ,president1 and ,fuseli4 ,the latter were1 however1 in some degree provoked by the frequent although just sallies of wit1 which ,fuseli employed on ,barry's pretensions to learning4 ,the ,president and ,council of the ,academy pointed out the impolicy of such proceedings1 and indeed reprimanded ,barry2 but this1 instead of checking1 had the effect of increasing the violence of his abuse4 ,a meeting of the whole body of the ,academicians was consequently summoned1 and they not only dispossessed him of the ,chair as ,professor1 but expelled him the ,academy4 ,the ,chair of the ,professor of ,painting being by this resolution vacant1 ,opie intimated an intention of offering himself as a candidate2 but1 upon being told that ,fuseli intended to do the same thing1 he immediately withdrew his name1 paying at the same time this merited compliment to his genius and talents3 ,i would not1 said he1 have surrendered my pretensions to any other artist but ,fuseli1 who was therefore elected on the #bith of ,june #agii4 ,the powers which he had displayed in the pictures of ,the ,milton ,gallery1 his learning and well-known critical knowledge1 were the causes which influenced the ,academicians in their choice4 ,it has been insidiously asserted1 that after ,fuseli left ,zurich in #aggi1 he was not on friendly terms with the members of his family2 and that they took little or no interest in the success of his efforts in the ,fine ,arts4 ,the following translation of a letter from his eldest brother1 ,rodolph1 proves the assertion to be unfounded4 ,vienna1 ,may #gth1 #agii4 ,,dearest ,,brother1 ,benedetti1 the engraver1 brought me last year1 7in ,september17 a letter from you1 in which you assured me of your unchanged1 brotherly affection1 and invited me to write to you sometimes1 and to acquaint you with an opportunity of sending over to me some works of art4 ,in ,october ,i answered your letter1 and named at the same time two ,london printsellers1 with whom the printsellers here1 7,artaria and ,co41 and ,mollo and ,co47 are in correspondence4 ,half a year1 however1 has already elapsed1 without my having heard from you4 ,i can well understand that1 pending the great work which you have undertaken1 and will1 ,i now hope1 soon have finished1 you may have had but little time for letter-writing2 but ,i do not ask a formal letter of you1 but only a line or two1 to assure me you are well1 and have not quite forgotten me4 ,if1 therefore1 your fraternal love is not chilled1 ,i hope to be gratified in this respect1 before the scythe overtakes me1 of which1 at my time of life1 when we are continually fancying we hear it behind us1 one cannot be too distrustful4 ,much as ,i value your works of art1 you must not think that what you promised me is the occasion of my now writing4 ,no1 my dear brother1 ,i am not so selfish2 your good health1 and the success of your great undertaking1 are to me matters of far greater concern than any works of art you could send me2 and upon these two points ,i beseech you to set my mind at ease1 be your letter ever so short4 ,the affairs of our country wear a lamentably gloomy aspect2 and ,i much fear that our fellow-countrymen will act as imprudently1 and as awkwardly in the sequel1 as they did at the commencement of the ,swiss ,revolution1 thereby drawing a foreign power into the country4 ,they then played a wretched part1 and ,i only hope they will not do the same again4 ,i do not know whether the new ,german books upon matters of art are to be had in ,london1 or not2 if you should meet with the first part of my ,critical ,catalogue of ,engravings after classical masters1 peruse it with indulgence4 ,the second part will be better managed4 ,in characterising ,rafael1 ,correggio1 and ,titian1 ,i have made use of the writings of ,mengs2 because ,i know that he has studied all his life after these three masters1 and 7in my opinion7 writes philosophically on their styles of art2 but for the rest1 ,i confess1 ,i do not consider ,mengs to be that great artist which the world makes him1 as laborious study is too evident in his works1 and 7according to my feeling7 there is a something in them of an undecided and timid character4 ,we have materials here for the advancement of art1 which are no where to be had better--the ,court spends 7even now in war-time7 twenty-six thousand florins yearly on the ,academy2 we have casts of all ancient statues of importance1 which were to be seen in ,rome1 ,florence1 or ,portici2 also of more than a hundred of the most beautiful busts2 models of individuals distinguished for beauty of person1 taken from the life2 skeletons2 moveable anatomical figures4 ,the great rooms1 like halls1 are filled with collections of these kinds2 stipends1 premiums are given2 and1 in short1 every thing that can be desired for the encouragement of a school of art is here2 and1 nevertheless1 hitherto without having produced any apparent advantage2 for1 where there is no susceptibility for the beautiful1 every thing is to no purpose1 and will probably be always to no purpose4 ,your ,london publications are every where held in the highest esteem1 especially on account of the elegance of their execution1 and the typographical splendour of the impressions4 ,but they are all so high in price1 that a private individual of moderate means cannot buy any of them1 and must content himself with looking at the best in the collections of the great and rich4 ,fger1 whom you may perhaps have known in ,rome1 is now director of the ,academy of ,arts here4 ,he has exhibited a series of twenty designs from ,klopstock's ',messiah2' amongst which1 some of particular interest4 ,our engravers1 with the exception of ,schmzer1 who has published four good prints from ,rubens1 are of no importance1 and are for the most part to be looked upon as mere mechanics2 and even if some of them have talent1 they are obliged to engrave from insignificant things1 in order to earn their bread4 ,the other day1 ,i found many people collected before the shop of my printseller1 and staring at something in the window4 ,i pressed through the crowd1 and found your representation of ,hamlet's ,ghost was exposed in the window1 of which all present1 each in his way1 were expressing their admiration4 ,now that ,i have prosed on to you of different things1 ,i will spare you any more prosing4--,farewell1 and be happy1 and think sometimes1 when in a good humour1 of your ever-loving brother1 ,rodolph4 ,if it should ever come into your head to write me a line1 direct1 ,fessli1 on the ,nienn ,laurenzer-,house1 ,no4 #cd1 on the first floor1 in ,vienna4 ,n4 ,b4--,the ,nienn is a little river which flows by my house4 ,the ,milton ,gallery was re-opened on the #bast of ,march #ahjj2 but as it did not attract the public1 and as many of the members of the ,royal ,academy lamented deeply the ill success which attended it1 and considered the apathy which was shown towards these grand specimens of art would in the end be fatal to the progress of history painting in this country1 so they induced the ,academy to which they belonged to come to the resolution of patronizing the undertaking1 which caused the following circular to be issued3-- ,royal ,academy1 ,may #b1 #ahjj4 ,messrs4 ,dance1 ,banks1 and ,opie1 the ,stewards1 request the favour of your company to dine with the ,president1 ,council1 and the rest of the ,members of the ,royal ,academy1 at the ',milton ,gallery1' on ,saturday1 the #agth of ,may1 at five o'clock4 ,tickets1 price fifteen shillings1 to be had at the ',milton ,gallery1' and at the ',freemasons' ,tavern1' till ,saturday1 the #ajth of ,august4 ,any ,member desirous of introducing a friend1 may be accommodated with a ticket for that purpose4 ,the favour of an answer is desired as soon as possible4 ,this dinner was numerously attended2 the seven pictures which had been added to those of the last exhibition were much admired2 but all that ,fuseli got on the occasion1 to use his own terms1 was mouth honour4 ,the following are the subjects of the pictures which were not in the exhibition of the former year3-- ,,paradise ,,lost4 ,,picture ,,xli4 ,,sin receiving the ,key of ,hell4 ----,down they fell1 ,driven headlong from the pitch of heav'n1 down ,into this deep1 and in the general fall ,i also3 at which time this powerful key ,into my hand was giv'n4 ,book ,,ii4 v4 #gga4 ,in the possession of ,samuel ,cartwright1 ,esq4 ,,picture ,,xlii4 ,,satan',s first ,address to ,,eve4 ----,eve separate he spies1 ,veil'd in a cloud of fragrance1 where she stood1 ,half spy'd1 so thick the roses blushing round ,about her glow'd1 oft stooping to support ,each flower of tender stalk1 c4 ,he bolder now1 uncall'd1 before her stood1 ,but as in gaze admiring-- ,his gentle dumb expression turn'd at length ,the eye of ,eve---- ,book ,,ix4 v4 #dbd1 #ebc4 ,,picture ,,xliii4 ,,adam and ,,eve meeting after her ,seduction4 ----,by the tree ,of knowledge he must pass1 there he her met1 ,scarce from the tree returning2 in her hand ,a bough of fairest fruit---- ----in her face excuse ,came prologue1 and apology too prompt1 ,which with bland words at will she thus addressed4 ----,the ,serpent wise ,hath eaten of the fruit1 and is become ,endued with human voice1 and human sense4 ----,i ,have also tasted1 and have also found ----opener mine eyes1 ,dim erst1 dilated spirits1 ampler heart1 ,and growing up to ,godhead---- ,on the other side1 ,adam ,astonied stood and blank---- ,from his slack hand the garland wreath'd for ,eve ,down dropt---- ,book ,,ix4 v4 #hdh4 99 99 99 99 99 ,,elegy ,,on ,,the ,,death ,,of ,a ,,fair ,,infant4 ,,picture ,,xliv4 ,,winter carrying off a ,maid4 ,o fairest flow'r1 no sooner blown but blasted6 ,soft silken primrose1 fading timelessly6 ,summer's chief honour1 if thou hadst out-lasted ,bleak ,winter's force that made thy blossom dry2 ,for he1 being amorous1 on that lovely dye ,that did thy cheek envermeil1 thought to kiss2 ,but kill'd1 alas6 and then bewail'd his fatal bliss4 99 99 99 99 99 ,l',,allegro4 ,,picture ,,xlv4 ,,euphrosyne1 or ,mirth1 with ,,fancy and ,,moderation hovering over her1 tripping forward-- ,on the light fantastic toe2 accompanied by ,wanton ,wiles2 ,sport1 that wrinkled ,care derides2 ,and ,laughter1 holding both his sides1 with the ,group of ,,falstaff and ,,doll in the fore-ground3 the distance exhibits the ,meeting of ,,zephyrus and ,,aurora1 allusive to the ,birth of ,,euphrosyne1 in the words-- ,zephyr with ,aurora playing1 ,as he met her once a maying1 c4 ,in the possession of the ,duchess of ,st4 ,alban's4 99 99 99 99 99 ,,il ,,pensieroso4 ,,picture ,,xlvi4 ,,melancholy1 ,reclining on her throne-- ,her rapt soul sitting in her eyes1 with the attendant ,,genii of ,,terror and ,,grief at her ,feet1 and behind her the ,shadow of ,,ugolino and his dead ,son4--,the whole dimly illuminated by a ,moon-beam4 ,this picture was destroyed accidentally4 99 99 99 99 99 ,,sonnet ,,iii4 ,,picture ,,xlvii4 ,the ,,shepherdess of the ,,alps watering her ,plants4--,an ,evening ,scene4 ,qual in colle aspro1 c4 ,as an exhibition opened for the second time has not the charm of novelty to attract the public2 so1 unfortunately1 at its close the ,milton ,gallery1 notwithstanding the patronage of the ,royal ,academy1 was found to be even less productive during this than the previous season2 and after four months of anxiety and disappointment1 ,fuseli closed it on the #ahth of ,july #ahjj4 ,thus terminated the exhibition of one of the greatest efforts of genius ever executed by one artist4 ,it is lamentable to contemplate that1 after the labour of so many years1 the energies exerted by the painter1 and the privations which he endured during the time he was executing these pictures1 they should have been met with so much of neglect from the public#dg4 ,upon the closing of this ,gallery1 ,fuseli thus expressed himself to a friend1 ,i am fed with honour1 and suffered to starve1 if they could starve me4 ,fuseli sometimes lounged about the ,milton ,gallery to hear the critical and other remarks of the visitors4 ,on one occasion1 a coarse-looking man left his party1 and coming up to him1 said1 ,pray1 ,sir1 what is that picture8 ,fuseli answered1 ,it is the bridging of ,chaos3 the subject from ,milton4--,no wonder1 said he1 ,i did not know it1 for ,i never read ,milton1 but ,i will4--,i advise you not1 said ,fuseli1 for you will find it a d--d tough job4 ,his friends felt in how embarrassed a situation ,fuseli must be placed by these unsuccessful exhibitions2 and they determined to relieve him by becoming purchasers of some of the pictures4 ,the ,countess of ,guilford bought the ,lycidas2 ,lord ,rivers1 ,satan calling up his ,legions2 ,sir ,mark ,sykes1 ,bart41 ,the ,lubbar ,fiend2 ,thomas ,coutts1 ,esq41 ,the ,lazar ,house2 ,john ,julius ,angerstein1 ,esq4 7at the recommendation of ,w4 ,lock1 ,esq47 ,satan starting from the touch of ,ithuriel's spear2 ,the ,vision of the ,deluge1 and ,eve1 newly created1 led to ,adam2 ,william ,young ,ottley1 ,esq41 ,sin pursued by ,death1 and ,the ,dream of ,eve2 and ,william ,roscoe1 ,esq4 with that friendship and liberality which he always exercised towards ,fuseli1 purchased pictures to the amount of #cjj2 which1 however1 did not form a part of this exhibition4 ,prior to the purchase of the picture of ,the ,deluge1 by ,mr4 ,angerstein1 ,fuseli wrote the following letter to ,mr4 ,william ,lock4 ,london1 #aath ,august1 #ahjj4 ,as it may be expected1 and indeed necessary1 that ,i should inspect1 and perhaps correct the pictures sent under ,mr4 ,wyall's direction to ,mr4 ,angerstein's1 ,i take the liberty of applying through you to ,mr4 ,lock1 to be informed when my admission for that purpose may be attended with the least inconvenience to ,mr4 ,angerstein's arrangements4 ,the greater part of my exhibition1 the rejected family of a silly father1 are now again rolled up1 or packed together against the walls of my study to be seasoned for dust1 the worm1 and oblivion4 ,ti gar moi kai makrois aulois1#dh said ,otho when in possession of his wish2 ,i have been punished by obtaining mine4 ,it cannot be supposed1 however1 that ,i should be quite indifferent to the fate of my bantlings2 and as 'the expectations of ignorance are indefinite1' ,i venture to ask1 whether you think it quite impracticable to persuade ,mr4 ,angerstein to find a place for ',the ,deluge8' ,it is not quite so wide as the smaller picture in his possession2 and though1 if placed on the other side of the ,satan1 it would be less honourable to me than the company of ,rubens2 it would be more in tune with the rest4 ,it would be presumption in me1 without authority from you1 to congratulate you on what more than rumour has told me1 of your intended change of state3 of this1 however1 you are sure1 that nothing conducive to the happiness of ,william ,lock can be more interesting to any man than his ,respects4 ,fuseli4 ,to ,william ,lock1 ,jun4 ,esq4 ,norbury ,park4 ,,chapter ,,ix4 ,fuseli's ,lectures at the ,royal ,academy4--,letters respecting them from ,mr4 ,farington4--,letter from ,sir ,henry ,englefield1 on the subject of the ancient ,vases4--,death of ,fuseli's friend1 ,lavater4--,fuseli's ,visit to ,paris in #ahjb4--;,his ,letter from thence to ,mr4 ,james ,moore4--,his acquaintance with the ,french ,painters ,david and ,gerard4--,results of his ,visit4--,letter from ,mr4 ,roscoe4--,fuseli's ,remarks on some of the ,paintings in the ,louvre4--,letter from ,mr4 ,smirke4--,fuseli elected ,keeper of the ,royal ,academy4--,incidental ,anecdote4--,letter to ,mr4 ,joseph ,johnson4 ,in ,march #ahja1 ,fuseli delivered three lectures on painting1 at the ,royal ,academy1 which were numerously attended1 and he gained much applause4 ,the feelings of the ,academicians1 the students1 and the public1 with respect to the lectures1 will be shewn by the following letters from ,joseph ,farington1 ,esq4 ,r4,a4 the friend of ,fuseli1 and a gentleman who at this time took a lead in all the affairs of the ,royal ,academy4 ,tuesday1 ,march #ag1 #ahja4 ,,dear ,,sir1 ,though ,i did not attend your lecture last night1 ,i was not the less interested for you1 and1 before the evening closed1 had the satisfaction to receive1 from one who was present1 an account that was equal to my wishes4 ,be assured that you have made a due impression on the minds of the members1 and have added to the credit of the ,academy1 and to your own reputation4 ,i shall hope to see you soon4 ,believe me to be1 dear ,sir1 ,your's most sincerely1 ,jos4 ,farington4 ,to ,henry ,fuseli1 ,esq4 ,tuesday1 ,march #bd1 #ahja4 ,,dear ,,sir1 ,i have still more reason to congratulate you on the effect of your last night's discourse1 which made a still stronger impression in your favour4 ,go on1 for the honour of the ,academy1 your own credit1 and1 ,i hope1 interest4 ,dear ,sir1 ,your's truly1 ,jos4 ,farington4 ,to ,henry ,fuseli1 ,esq4 ,march #ca1 #ahja4 ,,dear ,,sir1 ,last night ,i saw ,mr4 ,daniell1 and this morning another person who was at the ,academy last night4 ,the room1 ,i am informed1 was more crowded2 a proof of spreading reputation1 and the satisfaction general4 ,more encouragement to succeed cannot be required4 ,dear ,sir1 ,your's very sincerely1 ,jos4 ,farington4 ,to ,henry ,fuseli1 ,esq4 ,these lectures ,fuseli published in the month of ,may #ahja1 in a quarto volume1 which was dedicated to his friend1 ,william ,lock1 ,esq4 of ,norbury ,park4 ,as they have been long before the ,public1 it is unnecessary now to speak of their merit2 suffice it to say1 that they have been translated into the ,german1 ,french1 and ,italian languages4 ,the publication of ,fuseli's lectures having made a great sensation among artists1 and that on ancient art in particular having been much canvassed by them as well as by antiquaries1 he wished to gain1 and1 if he saw fit1 to embody in future editions1 as much information as could be obtained on this subject2 he therefore made application to his friend the late ,sir ,henry ,englefield1 ,bart4 for his observations upon the ,vases of the ancients1 commonly called ,etruscan1 which that gentleman gave him in the following letter3 ,tilney ,street1 ,august #bd1 #ahjc4 ,,dear ,,sir1 ,at your desire1 ,i communicate to you such observations on the ancient ,vases1 commonly called ,etruscan1 as a minute examination of many of the finest specimens in the magnificent collection of ,mr4 ,thomas ,hope1 and the select and very beautiful one belonging to ,mr4 ,edwards1 have enabled me to make1 particularly with respect to the mechanical process used in the decoration of them4 ,the material of these vases is clay of a very fine and close quality1 extremely light1 and of a colour nearly the same in all1 a light and agreeable orange red4 ,they all1 without exception1 are covered with a varnish or glazing of a dark colour1 but not in all of the same tint2 in some1 it has a greenish hue1 and a lustre of a metallic appearance2 this is most striking in those found near ,nola4 ,in many1 the varnish is of a brown black1 like asphaltum4 ,the vases may be ranked in four classes4 #a4 ,those covered with varnish without ornament or painting of any kind4 #b4 ,those which bear on the natural ground of the ware1 figures in black varnish4 #c4 ,those whose figures are left in red1 the vase being covered with varnish4 #d4 ,vases covered entirely with varnish1 on which ornaments are painted in colours4 ,of the first sort it will be necessary to say but little4 ,many of the most exquisitely formed ,nolan vases are of this sort4 ,the varnish appears to have been laid on while the vase was on the lathe4 ,the parallel strokes visible on the surface of the varnish1 and its extreme equality of tint1 prove this4 ,no better mode can be devised for varnishing1 except dipping the ware into the liquid varnish2 and this was not done in these vases1 as the varnish never covers the hollow of the foot1 nor descends deep within the neck4 ,i cannot at all say whether the vase was varnished while yet wet1 or first suffered to dry1 or even baked a first time1 as is the process in much of our common modern glazed earthenware4 ,the second sort bear in general marks of the most remote antiquity4 ,the figures are universally of a stiff and meagre form1 the drapery close1 and the folds few and hard4 ,yet in many the composition is good1 and the action of the figures vigorous4 ,they exactly resemble in style the bronzes still remaining of ,etruscan work4 ,the mode pursued in painting them was this3 ,the intended figure was painted without any previous discoverable outline in varnish1 and then resembled exactly those figures so common under the name of ,silhouettes4 ,when the varnish was quite dry and hard1 the features1 the limbs1 and the folds of the drapery1 c4 were scratched through it with a pointed tool1 which was applied with such force as to cut some depth into the clay of the vase4 ,this sort of outlining was sometimes carried round parts of the contour1 which appeared to the artist not sufficiently distinct without it4 ,the hands and fingers are often thus partially scratched out4 ,parts of the drapery and ornaments on the heads of the figures were then covered with a coat of coloured paint4 ,violet occurs most frequently2 often a green1 and sometimes white4 ,in some vases of the most ancient and rudest appearances1 animals1 particularly birds1 are coloured not only with these colours1 but also red and yellow2 and the appearance and style of these vases have a great resemblance to the ,egyptian paintings on their mummy chests4 ,the vases of this sort are said to be universally found in the deepest graves1 so deep indeed1 that over them sepulchral chambers of a later date1 with vases of a totally different character are often found4 ,that the colours above-mentioned were put on after the outline was scratched in1 is ascertained by the circumstance of the colours having in many instances run into1 and partially filled up1 the strokes engraved in the vases4 ,this species of painting is evidently the first improvement on the simple ,skiagrams4 ,the vases of the third description1 namely those whose figures are left in red1 on a ground of dark varnish1 are by much the most common of any1 and are found of all degrees of excellence1 from the most careless and slight finishing1 to the most exquisite work2 but in all1 the style of design is essentially different from those described above1 with the figures in black4 ,in the red figures1 however negligently executed1 there is a fulness of form1 and a freedom of drapery perfectly similar to the remains of ,greek art which have reached us1 whether in sculpture or coins4 ,the process also of this execution is entirely different from the second sort1 and will be now minutely described from repeated observations of many of the most exquisite of them1 made not only with the naked eye1 but with glasses of high magnifying power4 ,the first thing painted on these vases was an outline of the figures1 not only of their contour1 but the markings of the features1 muscles1 folds of the drapery1 ornaments1 c4 ,this outline1 in those vases which are of fine execution1 was made with an instrument which carried a very fine and equal point1 and at the same time left a very full body of the colour used on the vase4 ,the colour itself appears to have been of a thick consistence2 for if the strokes1 even the finest1 7which are as fine as could be made by a good pen17 are carefully examined with a magnifier in a side light1 it will be distinctly perceived that there is a slight hollow in the middle of each1 owing to the colour having flowed round the point which traced it1 and met behind it1--just as we see in a road where the mud is of a semi-fluid consistence1 that the track of a wheel is filled in with the pasty mire1 leaving a depressed line in the centre of the rut4 ,it is impossible to say whether the instrument used for these outlines was of the nature of a pen or a brush2 yet ,i am inclined to think from the flowing appearance of the lines1 that a firm and finely pointed brush or pencil was used4 ,whichever it was1 the hands which guided it possessed a steadiness and freedom of execution1 almost incredible4 ,lines of a great length and difficult curvatures are carried over the convex surface of the vases1 without the least wavering or indecision1 or any lifting the point from the vase1 or any repetition1 or filling up of the stroke4 ,an attentive examination of the outline will ascertain this fact beyond a doubt1 and a further proof of it may be drawn from the few instances in which strokes of very great length have been done at twice1 particularly in a vase of great size and admirable execution in the collection of ,mr4 ,hope1 representing probably the story of ,triptolemus1 where the long parallel lines marking the feathers of the wing of a ,genius have been suspended about half way2 and no particular care has been taken to conceal the junction of the lines4 ,this vase also furnishes a very rare and instructive instance of what1 by artists1 are called pentimenti1 or changes of design4 ,the wheel of a chariot and part of the arms of a figure1 with a patera or cup in the hand1 have been considerably varied2 and the first outline is still visible like a faint red chalk stroke1 but without any appearance of enlargement or smearing1 so that it should seem that the false stroke was scraped off by a sharp edge1 carefully applied to the surface of the vase when the varnish or paint was nearly dry4 ,that the outline was performed with this freedom and celerity1 and scarcely ever altered1 may be further inferred1 from the great inaccuracies of drawing so frequent even in those vases whose design and execution are of the very highest class4 ,perhaps an absolutely unerring precision of hand has never been the lot of any artist1 however excellent4 ,the drawings of the greatest masters prove that they found many things to alter in their most careful first lines2 and the union of excellence and defect on the vases can1 ,i think1 only be accounted for in the supposition of an unaltered line4 ,what has been hitherto said of the mode of outlining this sort of vases is applicable only to the finish of them4 ,in those of inferior finish1 the outlines are much thicker1 and laid on with a less body of colour2 and in many of the coarsest1 there is reason to think that no outline at all was made1 but that the figures were merely left red in the general wash of the vase1 with the dark-coloured varnish1 and the outlines of the features1 folds of the drapery1 c4 were put in with a large brush1 and in a very careless manner4 ,indeed1 on the very finest of the vases1 the subordinate decorations1 such as the honeysuckle 7as it is called7 ornament so frequent under the handles1 were simply left red in the general wash of varnish over the body of the vase2 at least no outline of them is now discoverable4 ,to return to the painting of the finest vases4 ,the outline already described being perfectly dry1 the artist with a brush or other similar instrument which bore a full body of colour and made a stroke of about a quarter of an inch in breadth1 went carefully round the contours of the outlined figures4 ,in this operation1 an opportunity was given to make slight alterations in the design1 and in some degree to amend the contour4 ,this seems to have been often done2 for the original outline is often covered in parts by this wash1 and appears projecting from the surface of the vase under it2 affording also a proof that the outline was dry and hard before this wash was laid on4 ,frequently1 also1 this wash does not come quite up to the original outline2 but in general the wash follows the outline in a most steady and masterly manner4 ,probably at this time the hair of the figures was put in with a thin wash of the same varnish or colour1 managed with peculiar freedom and dexterity1 and so washed out to nothing at the extremities of the flowing curls of the tresses1 as to have the lightest and at the same time the most finished effect4 ,it is to be observed that the hair1 which in some parts is as dark as the ground of the vase1 is not carried quite to the ground1 but that a small space is left red round the hair1 in order to relieve it from the ground of the vase4 ,the truth of the contour being thus secured by this narrow border of ground carefully laid on the covering1 the remaining surface of the vase with its varnish1 might be safely entrusted to an inferior hand4 ,that the varnish was laid on at twice1 is evident by inspection of any well-finished vase1 where the first narrow line of varnish is distinctly visible under the general wash4 ,this process finished the greater part of the vases1 even the finest2 but on some1 particularly those of the largest size1 when every thing else was quite dry1 some parts of the design were coloured with washes of two different tints4 ,the horses and parts of the armour are painted with white1 which when dry is opaque1 but when wetted becomes nearly transparent4 ,parts of the drapery and ornaments round the necks and on the heads of the figures1 and some of the shields1 are painted yellow1 and several small flowers and ornaments of foliage1 which are interspersed among the figures1 are painted in white and yellow4 ,the internal outlines and muscles of the horses are painted with lines of a light orange on the white2 and the white shields are ornamented in the same manner4 ,that the white horses were painted after the original black outline of the human figures was dry1 is evidently seen in the magnificent vase in the possession of ,mr4 ,edwards4 ,in that vase a leg of one of the horses comes across the thigh and drapery of a figure1 and the original outline of that figure is visible under the white colour which forms the horse's leg4 ,all these colours are so fixed on the vases1 probably by fire1 that they resist the action of aquafortis4 ,the vases of the last sort1 namely1 those which have ornaments in white and other colours painted on a black ground1 which covered the whole surface of the vase1 are very rarely to be met with4 ,mr4 ,hope possesses several1 which ,sir ,william ,hamilton told me were all found in one sepulchral chamber1 in which none of any other sort were placed4 ,the cause of this singularity it were vain to enquire4 ,no figures are represented on these vases1 but the ornaments are light wreathes of ivy1 or vine-leaves1 with masks and other bacchanalian symbols4 ,the execution is careless1 but spirited2 the paint used seems of the same quality with that above described as covering the horses1 c4 in vases of the third sort2 and the mode of applying it appears in no wise to differ from what would be now pursued4 ,it is not1 therefore1 necessary to say any thing further on this subject4 ,it is singular that on vases so profusely adorned with painting1 scarcely an instance of any thing like bas-relief or sculpture of any kind occurs2 on the handles of ,mr4 ,edwards's great ,vase1 two full faces in very flat relief are seen2 but1 con rispetto parlando1 is it quite certain that these handles are entirely ancient8 ,these are the observations which a very careful examination has enabled me to make on the mechanical process used in adorning the ancient earthern ,vases called ,etruscan4 ,to your judgment1 ,dear ,sir1 ,i submit them1 confident that you will1 ,si quid novisti rectius istis1 ,candidus--rectify my errors4 ,i am1 with sincere regard1 ,your obliged and faithful1 ,h4 ,englefield4 ,to ,henry ,fuseli1 ,esq4 ,r4 ,a4 ,early in the year 7#ahja7 ,fuseli was much dejected by the intelligence of the death of his old and esteemed friend and fellow-student1 ,lavater4 ,this singular man fell a sacrifice to what he considered his clerical duty2 for1 when ,zurich was occupied by the ,french1 in an attempt to afford consolation and alleviation to the sufferings of his townsmen1 which usually accompany the presence of an invading army1 he was stabbed by the bayonet of a soldier1 under which wound he languished for some months1 and closed a valuable and useful life on the #bnd of ,january1 #ahja4 ,the treaty of peace which was signed at ,amiens in #ahjb1 afforded the ,english an opportunity of visiting ,france1 and examining those treasures of art which ,buonaparte had torn by violence from ,italy1 ,germany1 and ,holland1 when those countries were subjected to him1 in consequence of the conquests of the ,french armies4 ,fuseli being determined to view them1 went to ,paris1 accompanied by some friends1 with the intention also of collecting materials for publishing1 for the information of travellers1 a critical account of the principal pictures and statues which then adorned the ,louvre4 ,the party consisted of ,mr4 ,farington1 ,r4,a4 ,mr4 ,james ,carrick ,moore1 ,mr4 ,halls a young artist1 and himself4 ,urgent business compelled ,mr4 ,moore to return to ,london earlier than he had anticipated2 but the remainder of the party passed six weeks in ,paris1 during the months of ,september and ,october1 whence ,fuseli wrote to ,mr4 ,moore the following letter3-- ,,dear ,,moore1 ,i had once a valuable friend in the ,rev4 ,mr4 ,whalley1 who took great pains to improve me by his correspondence2 he was able at all times to write faster than he could think2 from which you probably might be led to surmise that his epistles would have been fuller of news than observations--you would be mistaken2 they were essays crammed with trite observations1 such as delight in a magazine2--news ,i never heard from him4 ,if ,i except you1 ,i must own that all my correspondents on your side of the water are very like him4 ,your letter from ,dieppe gave me some useful information1 such as might preserve my knee from another synovia1#di or my neck from a crick2 and if you took more delight to penetrate my character than to fit me for a trip across the water1 in your last1 you have at least convinced me that you thought more of me when you wrote1 than of yourself1--a phenomenon that at once decides your character in my mind1 and furnishes me with a master-key for your heart2 in any other way you would have found poor ,harry ',too shallow1 much too shallow1 ,to sound the bottom of his ,jemmy's mind4' ,i am1 ,i hope1 in the last week of my stay in this paradise of mud1 and fricandeaus4 ,god6 what additional ecstasies you have lost by your precipitate flight6 ,so many pictures1 which would have exercised your critical faculty2 the ,apotheosis of ,st4 ,petronilla1 by ,guercino1 in which a colossal dowdy on this side of the grave is transformed to a celestial beauty on the other2 the ,fontana d' ,amore1 by ,titian1 a picture which transports you to the plains of ,arcadia1 or the vale of ,enna2 the whole-length of ,cardinal ,bentivoglio1 by ,vandyck--a soul personified--a male soul1 ,i mean3 for the mirror of all female spirit1 soul1 mind1 and graces1 would have been held up to you by ,titian again1 in the portrait of his ,mistress untwining her ringlets1 or1 as ,petrarch would have called them1 her ',crespe chiome d'or puro lucenti4' ,madame1 dont je baise les mains1 will explain this to you3 and so much for what you have lost at the ,museum4 ,since your departure1 we have been joined by ,mr4 ,robert ,smirke1 than whom no young man ,i ever liked more1 and only wish and fondly hope he will say the same of me1 when he talks of old men4 ,i have been with him to see the house of ,madame ,ricamier1 the ultimate standard of ,parisian taste1 whose enchanting bedchamber he has not only measured1 but drawn with a taste which improves it4 ,as ,harriet loves ,latin as well as ,italian1 ,i will gratify you both with the inscription on the pedestal of a small marble figure of ,silence at the head of the bed4 ',tutatur amores et somnos conscia lecti4' ,halls1 who sees1 observes1 says little1 laughs more1 is frequently indisposed1 and looks forward to ,england1 requests to be remembered to you1 and may be sure of his request4 ,the inquisitive traveller1 my other companion and manager1 does the same1 but has not forgotten that you would not let him stretch his legs on one of the beds at ,st4 ,juste4#ej ,he and ,i have been presented to the ,section des belles lettres et des beaux arts of the ,institute at the ,louvre1 where we were equally tired1 ,i by understanding1 and he by not understanding1 what we heard4--,my love to ,graham--adieu1 till you see me in ,grosvenor-street4 ,henry ,fuseli4 #aj ,vendemiaire1 in ,christian1 #b;d ,october1 #ahjb4 ,i have not yet heard from my wife3 if you should be led by your calls into the neighbourhood of ,queen ,anne-street1 and would tell them ,i am coming1 you will do a kind thing4 ,the society of ,fuseli1 while he was in ,paris1 was courted by the principal painters of the ,french school4 ,david1 whom he had known at ,rome1 paid him much attention1 and wished to introduce him to the ,first ,consul2 this he however declined1 as well as many other civilities which this eminent painter offered1 for he frequently said1 ,when he looked at ,david1 he could never divest his mind of the atrocities of the ,french ,revolution1 nor separate them from the part which he had then acted1 for they were stamped upon his countenance4#ea ,gerard also showed ,fuseli great respect1 and on every occasion expressed a high admiration of his genius4 ,every one who visits the galleries of the ,louvre to examine its pictures and statues critically and with care1 is convinced that much of their effect is lost 7particularly that of the pictures7 in consequence of its being generally lighted on each side by windows1 and only a small proportion of the picture-gallery by sky-lights4 ,fuseli1 who had seen and recollected most1 if not all1 of the celebrated pictures1 of the ,italian schools in particular1 in the churches or palaces for which they were painted1 and to which the artists had accommodated their light and shadow1 was particularly struck with the difference in their effect1 and deplored their removal4 ,he likewise perceived with great regret1 the injury which they had sustained and were sustaining from the hands of the ,french picture-cleaners1 or1 as they are generally called1 picture-restorers2 and that1 among others1 the celebrated ,transfiguration1 by ,raphael1 although it had suffered less than most1 was in some degree impaired4 ,as the peace between ,england and ,france was of short duration1 one of the objects of ,fuseli's visit was lost1 and his observations on the works of art then in the ,louvre were not therefore published4 ,the memoranda which he made were afterwards incorporated either in his ,lectures on ,painting1 in his ,fragment of a ,history of ,art1 or in the observations on the works of artists1 in his editions of ,pilkington's ,dictionary of ,painters4 ,in the year #ahjc1 he gave a picture to ,the ,union ,society at ,liverpool3 which he presented to the members1 to use his own words1 as a trifling pledge of gratitude to a country which has reared the humble talents which ,i possess4 ,mr4 ,roscoe acknowledged the receipt of this picture by the following letter3-- ,,my ,,dear ,,friend1 ,i have waited1 day by day1 for the last month1 in expectation of either seeing you or hearing from you2 and my patience being now quite exhausted1 ,i can no longer refrain from enquiring what can be the reason of this alteration1 or1 at least1 long protraction1 of your intended visit to this place4 ,in my last1 ,i endeavoured to express the pleasure ,i felt in the hope of seeing you so soon1 and only requested that ,i might have a line before you left ,london1 that ,i might arrange matters 7being now a man of business7 so as to enjoy as much of your company as possible4 ,we are now near the middle of ,november2 the fine weather leaving us1 and winter fast approaching2 yet ,i still flatter myself that ,i may see you1 and shall do so1 till ,i hear from you to the contrary4 ,why not spend your ,christmas with us1 when days are short1 and little professional time can be lost by it8 ,at all events1 let me hear from you1 that ,i may either continue to enjoy the hope of seeing you1 or reconcile myself as well as ,i can to my disappointment4 ,it is now two or three weeks since the large case of pictures came safe to hand2 ,the ,union is placed in its proper station1 where it has an uncommonly fine light1 and looks extremely well4 ,the printer of one of our papers wants to say something fine about it1 and has called upon me for a description4 ,can you suggest what ,i shall say as to the allegorical part of it1 or shall ,i try to do the best ,i can1 both with respect to that and the execution8 which could not have been more suitable1 or had a better effect1 if you had seen the place4 ,i know no method that would have so direct a tendency to encourage the high style of painting in this country1 as the introduction of good pictures into public buildings1 and even churches2 on which last subject1 ,i hope to show you some remarks1 which will appear in my ,life of ,leo ,x4 now almost ready for the press4 ,i allow this would be little satisfaction to the artist1 if he was to give his time1 talents1 canvass1 and paint1 as some people do4 ,you and ,i will1 however1 settle this point1 ,i doubt not1 to our mutual satisfaction4 ,having read thus far1 take up your pen without delay1 and let me at least once more see your magnanimous pothooks on the back of a letter1 addressed to your ever faithful and affectionate friend1 ,w4 ,roscoe4 ,liverpool1 #abth ,nov4 #ahjc4 ,p4,s4 ,the ,allegro and ,penseroso are safe at ,liverpool1 but are much too large for any situation ,i can give them at ,allerton4 ,in order to give some notion of ,fuseli's projected work1 for which chiefly he went to ,paris1 the following criticisms upon some of the pictures then in the ,gallery of the ,louvre may be acceptable3 these he was kind enough to offer to me when ,i was about to visit ,france in the year #ahad4 ,,julio ,,romano--,,the ,,circumcision4 ,this picture1 which is known from the print published in ,crozat1 deserves rather to be considered as a curiosity than as the work of a great master2 its composition bears some resemblance to the cartoon of ,peter and ,john healing the ,lame ,man1 of ,raphael2 but the simplicity and dignity of the master are lost in the crowd with which the pupil surrounded the ceremony4 ,though the columns occupy full as much space1 and are as prominent and as full of ornament in the cartoon as in the picture1 and although the principal actors are placed in both between them1 they are not perceived in the work of ,raphael1 till we have witnessed the miracle1 whilst in that of ,julio1 they lead us to the ceremony1 which eclipses the actors in its turn4 ,,paolo ,,veronese4 #a4 ,the ,nuptials of ,cana4 #b4 ,the ,feast of ,levi the ,publican4 #c4 ,the ,madonna1 ,st4 ,jerome1 c4 #d4 ,the ,martyrdom of ,st4 ,george4 #e4 ,jupiter launching his ,thunder on the ,crimes4 #f4 ,christ carrying his ,cross4 #g4 ,the ,crucifixion4 #h4 ,the ,pilgrims of ,emaus4 ,the two first1 the third1 and last of these pictures1 are perhaps the fullest models of that ornamental style by which a great critic has discriminated the ,venetian from the rest of ,italian styles1--monsters to the man of native taste1 who looks for the story1 for propriety1 for national1 unartificial costume1--mines of information to the student and the masters of art4 ,the most technic comprehension of a magnificent whole1 and supreme command over the infinite variety of its parts1 equal suavity1 energy1 and ease of execution1 go hand in hand with the most chaotic caprice in the disposition and the most callous tyranny over the character of the subject4 ,whatever relates to the theory of colours1 of solid1 middle1 and arial tints1 to the opposition of hues warm or cold1 and the contrast of light and dark masses1 is poised here with prismatic truth2 the whole is a scale of music4 ,it is more by following the order of nature and of light in the disposition of the whole1 that ,paolo attained that illusion1 which approaches to deception1 than by the attempt of making fac similes of the parts4 ,he knew that dark1 juicy1 and absorbent colours come forward1 that white recedes1 and that the middle parts partake of both1 and hence1 uniting the two extremes by the intermediate tint1 he obtained that superior harmony on which the ,venetian school rests its superiority of colour1 and which ,rubens sought with unequal success in the capricious disposition of a nosegay or a bunch of flowers4 ,,the ,,madonna ,,of ,,foligno--,,raphael4 ,none who has seen this picture at ,foligno1 will recognize it here4 ,whatever praise the ingenious and complicated process of restoration may deserve1 that of having restored to the picture its original and primitive tone makes certainly no part of it3 as well might the ingredients of a dish ready-dressed by a restaurateur of the ,palais ,royal1 be said to resemble the unprepared viands of which it is composed4 ,i am far from ascribing the want of resemblance to the restoration2 it could only give what remained--the bleak crudity of its aspect4 ,the comparative imbecility of some of its parts accuse another hand that succeeded4#eb ,pictures ex voto can claim little merit from composition4 ,the ,madonna of ,foligno1 and the ,st4 ,cecilia of ,raphael2 the ,st4 ,sebastian of ,titian1 c4 are discriminated from each other by little else than by a more or less picturesque conception of the ground on1 or before which the figures are placed3 it is expression1 therefore1 which makes their chief merit1 and this is the great loss which we have suffered in the ,madonna of ,foligno4 ,neither the ,st4 ,john1 the ,st4 ,jerome1 nor the head of ,st4 ,francis1 acknowledge the hand1 the eye1 or the feelings of ,raphael4 ,the ,st4 ,john1 though perhaps not even in its original state sufficiently dignified1 is become a savage1 and what is worse1 a ,french one4 ,the ,st4 ,francis1 and ,st4 ,jerome1 have been tinted into insipidity2 but the head of ,sigismond ,conti1 the ,madonna and ,child1 appear to have suffered less1 and the angelic countenance of ,the ,cherub with the ,tablet1 beams with its primitive radiance the impasto of ,raphael4 ,,raphael ,,with ,,his ,,maitre ,d',,armes4 ,tradition has persevered to give this admirable picture1 known from the print in ,crozat1 to ,raphael4 ,it does not1 however1 require more than a comparison with his other portraits1 from the first to that of ,leo the ,tenth1 to see that the donation is gratuitous2 if it were to be given to any other master1 ,giorgione has undoubtedly the first claim upon it1 and there is no known work of his which can dispute its precedence1 though it agrees with them in style4 ,that conscious purity of touch which1 exclusively1 scorns all repetition1 visible chiefly in the nose and nostrils of the ,maitre d',armes1 the unity of tone in the whole of the colour1 and that breadth1 which1 without impairing the peculiarity of character or the detail1 presents the whole at once1--dualities never attained by the dry and punctiliory ,roman principles1 speak a ,venetian pencil4 ,the forefinger of the right arm is perhaps not designed1 or foreshortened1 with the energy or correctness which might be expected from the boldness of the conception1 or from the power of either ,raphael or ,giorgione3 but the character of the hand as well as its colour1 is in unison with the head4 ,why the principal figure should be called a ,maitre d',armes is not easily conceived2 it is certainly the most important of the two1 and the leading figure of the picture4 ,the second1 although full-faced1 is subordinate1 and can by no courtesy of physiognomy be construed into the head of ,raphael1 unless the heads in the ,tribuna at ,florence1 in this gallery1 in ,vasari1 in the school of ,athens1 c42 as well as the head of the figure wrapped in a ,ferrajuolo1 and sitting in a painter's study1 as meditating1 by ,m4 ,antonio1 be spurious4 ,it bears indeed some resemblance to a head etched by ,w4 ,hollar1 and subscribed with his name2 but the authority on which that appellation rests1 is too futile to be admitted4 ,,john ,,ab ,,eyck4 ,if these be the works of ,john ab ,eyck1 there is not only an additional proof1 that he could not be the inventor of oil-painting1 but likewise that1 for near a century after him1 the colour of the ,flemings continued in the same retrograde taste which checked the ,italian design1 from the time of ,lorenzo ,ghiberti to that of ,leonardo da ,vinci4 ,the pictures here exhibited as the works of ,hemelinck1 ,metsis1 ,lucas of ,holland1 ,albert ,durer1 and even ,holbein1 are inferior to those which are ascribed to ,eyck1 in colour1 execution1 and taste4 ,compared with their composition1 the pictures of ,andrea ,mantegna are nearly reduced to apposition2 and the draperies of the three figures on a gold ground1 especially that of the middle figure1 could not be improved in simplicity or elegance by the taste of ,raphael himself4 ,these three figures1 indeed1 are in a style far superior to the rest2 but even these1 whether we consider each figure individually1 or relatively with each other1 their masses1 depth1 and relief1 cannot be surpassed by those which are ascribed to the ,german1 ,dutch1 and ,flemish masters of the succeeding century4 ,the three heads of ,god the ,father1 the ,virgin1 and ,st4 ,john the ,baptist1 are not inferior in roundness1 force1 or sweetness1 to the heads of ,leonardo da ,vinci1 and possess a more positive principle of colour2 the harmony of chiar' oscuro1 at which ,leonardo aimed1 admitted of no variety of tints than what might be obtained by the gradation of two colours4 ,his carnations appear to have been added by glazing2 such is the head of ,mona ,lisa4 ,,philipp ,,de ,,campagne--,,the ,,vision ,,of ,,st4 ,,ambrose4 ,the title of this picture is not accurate4 ,it is an intermediate figure of ,apostolic gait1 and in garments of legendary colours1 that shews the saints arrayed in white1 who themselves seem less occupied by the errand for which they came1 than by the place which they had left4 ,whatever in this picture is not vision is admirably toned1 solemn1 dim1 and yet rich1 the colours of a sacred place1 and cloistered1 devout meditation4 ,of these1 ,st4 ,ambrose himself partakes2 but the ,apostle who addresses the ,bishop1 and the two ,saints themselves1 are by far too ponderous1 and their outlines far too much defined for celestial beings1 and for the clouds on which they are placed3 their drapery1 although admirably folded1 recalls in the saints too strongly marble1 and in the ,apostle too palpably reality4 ,a ,,dead ,,christ4 ,this figure1 which has much of the genuine stern ,italian colour1 resembles the ,dead ,christ1 as he is called1 in the library at ,basle by ,holbein1 in attitude perhaps1--is inferior to it in truth1 but certainly much superior in style3 it has much of ,carravaggio2 the head in shade has a mysterious effect1 but the fore-part of the arm with the hand wants the rigid truth of the ,italian master whom he seems to have imitated4 ,,le ,,brun--,,the ,,death ,,of ,,cato4 ,the countenance of this figure is as unlike ,cato1 as the style of colour is to all other works of ,le ,brun3 it is a common man with a beard1 powerfully drawn1 and painted in an austere ,italian tone4 ,,nicholas ,,poussin4 ,from the extensive list exhibited1 we shall select four to make a few characteristic observations--,the ,martyrdom of ,st4 ,erasmus1 formerly an altar-piece at ,st4 ,peter's in ,rome2 ,the ,philistines struck by the ,plague2 ,the ,death of ,saphira2 and ,winter1 or the ,deluge4 ,the actual martyrdom of ,st4 ,erasmus is one of those subjects which ought not to be told to the eye--because it is equally loathsome and horrible2 we can neither pity nor shudder2 we are seized by qualms1 and detest4 ,poussin and ,pietro ,testa are here more or less objects of aversion1 in proportion to the greater or less energy they exerted4 ,this is the only picture of ,poussin in which he has attempted to rival his ,italian competitors on a scale of equal magnitude in figures of the size of life2 and here he was no longer in his sphere2 his drawing has no longer its usual precision of form1 it is loose and ,cortonesque2 his colour on this scale has neither the breadth of fresco1 nor the glow1 finish1 or impasto of oil4 ,in ,the ,plague of the ,philistines1 he has again laid too great a stress on objects of aversion2--instead of the effects of infection1 he has personified the effluvia of putrefaction2 he has indeed discriminated his story from all others of the same species1 by the introduction of the mice1 the temple of ,dagon1 the arch1 and the fall and fragments of the ,idol3 and the variegated bustle of the colours is covered by that frowning tone1 which ought to preside where ,jove hangs his planetary plague into the murky air4 ,in ,the ,death of ,saphira it is unnecessary to treat here what has been observed in another place1#ec that it is neither told with perspicuity nor adequate dignity4 ,we shall only observe1 that if the drawing and drapery of his figures be in his best style1 the colour is in his worst4 ,it presents to the eye neither light nor shade1 and might furnish a definition of tints that never ought to approach each other4 ,that austerity of unbroken colour which has been considered as a characteristic of the ,roman school to which ,poussin properly belonged1 and of which the best specimen is given in the ,transfiguration1 admits of an euphony unattainable by the dim crudity adopted by ,poussin in this picture4 ,for all the aforegoing defects1 the last picture to be noticed1 ,the ,winter1 or ,deluge1 makes up twenty degrees1 which1 in every requisite of real painting1 places ,poussin in the first rank of art4 ,it is easier to feel than to describe its powers2 it is1 compared with the former1 the most palpable part of the astonishing difference of effect between the works of the same man when inspired by sentiment or suggested by cold reasoning4 ,what we see before us is the element itself1 and not its image2 its reign is established1 and by calm degrees ingulphs the whole2 it mocks the food it feeds on4 ,its lucid haze has shorn the sun of his beams2 ,hope is shut out1 and ,nature expires4 ,a4 ,,vandyck4--,,la ,m,,re ,,de ,,piti4--,,st4 ,,martin1 c4 ,the ,mother of ,pity appears to me the most impressive of ,vandyck's pictures in point of expression4 ,the face of the mother1 though not ideal1 has elegance1 and grief tempered by dignity4 ,the ,christ1 extended from her lap1 has less of attitude than his other ,christs1 and a truer colour4 ,the bodies of the dead ,christs of ,vandyck1 in general1 appear rather transparent1 silver leaf over some dark substance1 and sometimes1 especially in the legs1 resemble some stained marble more than a body3 but here we see real substance1 a frame of flesh forsaken by circulation3 it seems an imitation of the ,christ of ,caravagio1 but handled with greater delicacy4 ,the whole would1 in my opinion1 have possessed greater pathos1 and perhaps produced a stronger effect1 had he sacrificed the ,angel and ,st4 ,john to the solitary group of the ,mother and ,son4 ,the composition of ,st4 ,martin resembles that of ,albert ,durer4 ,the countenance of ,st4 ,martin is not that of a man who will readily part with his own comforts to alleviate the sufferings of others4 ,that of his companion has more mind1 more dignity1 and better forms4 ,the paupers are excrescences of deformity2 but in colouring1 the picture unites every power of ,vandyck and of ,rubens1 in a very high degree4 ,charles the ,first1 c4 ,this picture may be considered in two different lights2 as a picturesque composition1 and as a representation of character4 ,in the first1 there cannot perhaps be conceived a more happy combination of the different materials1 whose concurrence is required to constitute a harmonious whole4 ,nothing can surpass the comprehension which balances its masses of light and shade1 equally lucid and juicy1 deep and arial1 various and united2 its colour at once soothes and invigorates our eye2 but when we recover from the enamoured trance of technic enjoyment1 we look for the character and the sentiment embodied by such art2 we find1 instead of ,charles1 a cold1 flimsy1 shuffling figure1 with pretension to importance1 but without dignity1--a man absorbed by his garment4 ,la ,kermesse1 ou fte de ,village--,kermis1 or ,village ,gambols4--,rubens4 ,this is rustic mirth personified4 ,rapidity of conception and equality of execution equally surprise in this composition2 variety and unity separate and combine its numerous groups2 the canvass reels2 the satiated eye might perhaps wish for a little more subordination1 for a mass more eminently distinguished by white or black1 to give a zest to the clogging sweetness of the general form4 ,but ,rubens worked under influence1 and his pencil roamed through the whole without predilection3 he was not here a painter2 he was the instrument of untameable mirth4 ,there is a group in this picture which seems to have been suggested by the struggling group of two soldiers in the cartoon of the horsemen1 by ,leonardo da ,vinci4 ,this may be judged a cold observation2 but artists must judge coldly4 ,zustris4--,venus on her bed waiting for ,mars1 playing with ,cupid and her ,doves4 ,this wanton conceit is a singular phnomenon on the ,dutch horizon of art4 ,we know no more of ,zustris than what the catalogue chooses to inform us2 but his work proves1 that if he could conceive amorously1 or what might be better styled1 libidinously1 he grew cold in the progress of execution4 ,the face of ,venus does not assist her action4 ,the picture wants shade1 and glow1 and keeping2 but there is an idea of elegance in the lines1 and the flesh wants only shade to become ,venetian4 ,,titian--,,portrait ,,of ,,titian ,,and ,,his ,,mistress4 ,the full value of this picture cannot perhaps be appreciated better than when it is considered after the examination of a portrait by ,rubens4 ,the unaffected breadth1 the modest1 unambitious reflexes1 an air of suffusion rather than penciling1 a certain resignation even in the touch1 shew us ,nature1 rather than its image4 ,this charming female displays a mind superior to the cares of the toilet she is engaged with1 sees beyond the mirror which her lover holds1 and at which her lover1 if it be her lover1 assists4 ,the great merit of ,titian1 and perhaps his exclusive merit as to execution1 is to be totally free from all pretence1 from all affectation4 ,his vehicle conveys the idea of the thing1 and passes unobserved4 ,to ,tintoret1 to ,paolo--the thing in general served to convey the vehicle4 ,the ,miracle of ,st4 ,marc derives all its merit from that whirlpool of execution1 which sweeps undistinguished all individual merit into one mighty mass4 ,as a whole1 of equal comprehension1 energy1 and suavity1 it astonishes the common man of organs1 and the artist who enters into the process of this amalgama1 equally2 but when the first charm is over1 and we begin to examine the parts1 we shall not find they were drawn forward1 distanced1 or excluded by propriety and character4 ,the intimacy which commenced in ,paris1 in the year #ahja1 between ,fuseli and ,mr4 ,robert ,smirke1 the celebrated architect1 was kept up2 and when he left ,england for ,italy1 the former gave him letters of introduction for ,rome1 which he found very useful4 ,this kindness on the part of ,fuseli1 was acknowledged by ,mr4 ,r4 ,smirke in the following letter3 ,rome1 ,march #bj1 #ahjc4 ,,dear ,,sir1 ,i have1 you see1 a second time availed myself of your permission to write to you2 but as it is now above two months since ,i sent my last letter1 you will not find the intrusion1 ,i hope1 troublesome4 ,there is1 ,i always feel1 a sort of pleasure in communications of this kind with a distant friend1 which is extremely agreeable2 when writing1 at the moment1 ,i forget the distance of #aejj miles1 and am talking with him4 ,you desired ,i would endeavour to write to you in ,italian2 ,i must confess1 however1 that as yet ,i feel such a deficiency in my knowledge of that language as to make me afraid of venturing upon so bold a task2 and as ,i have been so neglectful as not to attend regularly to instructions in it1 ,i am afraid it will be yet some time before ,i can venture4 ,in justification1 nevertheless1 ,i have to say that ,i never avoid the opportunity of being obliged to make use of it2 and in the house ,i live1 no language but ,italian is spoken4 ,it was a considerable time after my arrival in ,rome that ,i succeeded in finding ,signor ,ven4 ,gambini1 though doubtless only from want of more proper application4 ,i found that his memory of you and your friendship with him had not failed in the slightest degree2 he enquired with much kindness after you1 and showed me immediately a book1 in which he has preserved with care a sketch you made upon one of the leaves2 the only memorial1 he told me1 that he had of your work4 ,he has a bust of you1 which he has placed in his principal room1 between those of ,clio and ,melpomene2 it gave me really much pleasure to see the remembrance of a friend1 absent between twenty and thirty years1 so warmly preserved4 ,his reception of me was1 as you may suppose1 extremely kind and civil2 but as ,i find him surrounded with books1 probably in a busy employment1 and that so different to mine1 ,i have not seen much of him1 nor cannot but be afraid always of being troublesome4 ,it is now nearly two months since ,i arrived in ,rome1 having scarcely stopt on the road after leaving ,pisa1 whence my last letter to you was dated1 except for two or three days at ,sienna4 ,florence pleased me very much1 from the slight view ,i had of it4 ,i was there but a day1 as ,i purpose spending a month there1 at least1 on my return from the southern parts of the country4 ,the ,gallery1 ,i suppose1 must be much less interesting since the ,french have taken so much from it2 but as it is1 it struck me particularly4 ,i was much pleased with the arrangement2 for though it has nothing of the astonishing coup d'oeil of the ,louvre1 ,i should think it was better calculated to shew the statues and pictures1 and still more1 to assist the artist who studies from them4 ,i have been very highly gratified with what ,i have seen in ,rome4 ,the numerous remains of excellent ,roman art1 both in sculpture and architecture2 the magnificent appearance of many of the modern buildings2 the splendour of the churches1 and many collections of paintings1 cannot fail to make it always a most interesting place even to those who at other times have felt but slightly the excellencies of art4 ,it has1 ,i imagine1 suffered a good deal during the last eight years4 ,what the ,french have taken1 7though perhaps the finest works17 is not the only loss1 for the distress and poverty attending the confusions of the country have caused the sale of the best pictures in many of the collections1 and a sad neglect in general of their palaces4 ,st4 ,peter's did not quite equal my expectations4 ,i never anticipated much from the architecture2 but it was in the general appearance to the eye that ,i was in some degree disappointed4 ,the grandeur of the approach 7the circular portico1 fountains1 and vestibule7 is certainly most striking2 but in the interior particularly1 there appears to me a great want of proportion1 and from the colossal boys and decorations crowding about it1 the just scale much destroyed2 neither do ,i think the richness of the finishings1 or the strong glare of light admitted into the building1 quite appropriate to the solemnity of its character4 ,in the ,vatican adjoining1 ,i believe but little alteration has taken place since you were here1 except in the rooms containing the statues4 ,they are chiefly small1 but have been fitted up with much elegance4 ,the wonderful picture of ,michael ,angelo in the ,capella ,sistina is quite uninjured4 ,those in the ceiling will not1 ,i am afraid1 7as they ought17 resist for ever the injuries of weather4 ,one small piece affected by damp on the outside has fallen4 ,what a pity it is they did not observe the precaution made use of by the ancients1 by which many of their fresco works remain as perfect as when first painted6 ,a space of two or three inches was left between the wall and tile on which the stucco was laid1 so that it was completely defended from all exterior damps4 ,i was disappointed in the ,arabesque paintings of ,raphael in the ,galleries2 of course not in the design1 but in the present condition2 they are so injured by being exposed to the open air1 as to be much obliterated4 ,his fresco paintings in the same palace are in good preservation4 ,of ,michael ,angelo and ,raphael1 though ,i had seen but very few of their works1 and certainly among the least able to appreciate their merits till ,i came here2 ,i had no idea of what painters they were1 nor how they could so represent ,nature in all its actions4 ,i have seen most of the modern artists of ,rome--they are chiefly young4 ,they have many large1 bold undertakings in hand2 several subjects ,i have seen1 twenty-five feet long1 either for churches1 or for the ,earl of ,bristol1 an old nobleman here of singular character1 who gives sometimes much encouragement1 and often beyond1 ,i believe1 even his power4 ,the manner of painting is very like what ,i think ,i have observed among the ,french3 much attention and minuteness in detail1 while the great principal object of the story is perhaps failed in4 ,there is not however1 ,i think1 so much extravagance in the representation of action1 as ,i often observed in the modern ,french pictures4 ,among the best historical painters here are ,camuccini1 ,landi1 and ,benvenuti4 ,of the sculptors1 ,canova1 of course1 holds by far the highest rank2 many of his works are certainly very beautifully designed and executed4 ,next to him1 one of the name of ,maximilian is placed as the best4 ,with respect to the modern architecture1 both in its churches and palaces1 ,i must confess myself somewhat surprised that the excellent models of ancient art constantly before them have not been more successfully studied4 ,in general1 ,i think the taste is of rather a heavy1 disagreeable kind1 but often a sort of magnificence in the whole effect which is imposing4 ,i purpose now leaving ,rome for a time1 intending on my return to devote some time to more attentive and diligent study4 ,my time hitherto has been employed1 for a great part1 in seeing all the different antiquities and buildings contained within the extensive walls of the city and in its suburbs4 ,you may not perhaps have heard of my intention of spending two or three months in ,greece1 as it is within so short a time that ,i have determined upon it1 and consequently since ,i communicated it to my family at home4 ,i have been making many inquiries here1 and find it a journey practicable1 and as little subject to difficulties as one can expect2 ,i think too that one may derive more advantage from a study of the ancient works there1 which are less known1 and which have perhaps been the models of the finest here1 than from any in this country4 ,when writing my last letter home1 in which ,i mentioned my intention1 ,i thought of going by way of ,ancona1 where ,i should embark in a vessel that went to any part of ,greece2 since then1 ,i have somewhat changed my plan1 purposing now to go by way of ,naples and ,otranto1 and there embarking for ,corfu4 ,it may still be nearly a fortnight before ,i set out1 as some preparation is necessary4 ,greece1 it appears1 does not afford the little conveniences found in this country for travellers4 ,i am very well provided with letters there from the kindness of some ,english ,i have met with here4 ,there is one family from whom ,i have received much kindness1 7the ,earl of ,mount ,cashell's17 with whom ,i believe you are acquainted1 as ,i have often heard you spoken of in it4 ,my paper leaves me no more room than to say1 if you should ever have leisure to write me a few lines1 they will be received with the greatest pleasure2 and wishing you the best health1 ,believe me1 your very sincere friend1 ,robert ,smirke4 ,henry ,fuseli1 ,esq4 ,r4,a4 ,my direction will be at ,mr4 ,fagan's1 ,piazza ,colonna1 ,rome4 ,in the year #ahjc1 ,fuseli left ,queen-,anne-,street1 and took the lease of a commodious house1 ,no4 #ac1 ,berners' ,street1 which had been built by ,sir ,william ,chambers for his own residence2 here he remained until ,december #ahjd1 when he was elected ,keeper of the ,royal ,academy1 ,mr4 ,rigaud being then his competitor4 ,the salary and commodious apartments allotted to this office placed him in such circumstances as to render him1 in a degree1 independent of fortuitous commissions4 ,although now in his sixty-fourth year1 he retained great mental and bodily activity1 and from his taste and extensive knowledge in the higher branches of the fine arts1 a more judicious choice could not have been made by the ,members of the ,royal ,academy2 this opinion was expressed by his late ,majesty1 ,george the ,third1 when the ,president1 ,mr4 ,west1 laid before him the resolution of the ,academicians for his approval4 ,the following anecdote connected with his election has been told1 but not correctly4 ,when ,fuseli tendered himself for the office of ,keeper of the ,royal ,academy1 ,northcote and ,opie voted against him2 but being conscience-stricken1 not only on account of his abilities1 but from having received favours at his hands1 they considered it right to call upon him the day after the election to explain their motives4 ,after having heard them1 and in their explanation they in some degree blamed each other2 he answered1 in his usual sarcastic manner1 ,i am sorry you have taken this trouble1 because ,i shall lose my character in the neighbourhood4 ,when you entered my house1 the one must have been taken for a little ,jew creditor1 the other for a bum-bailiff2 so1 good morning4 ,this year 7#ahjd7 ,fuseli visited ,liverpool for the last time1 and passed a great deal of his time while there with ,mr4 ,roscoe3 on his return to ,london1 he wrote the following letter to ,mr4 ,joseph ,johnson1 the nephew of his much respected friend of that name3-- ,london1 ,june #ba1 #ahjd4 ,,dear ,,sir1 ,give me leave to return you my warmest thanks for your kindness4 ,though my circumstances did not permit me to spend as many hours as ,i could have wished under your hospitable roof1 every moment ,i passed with you and ,mrs4 ,johnson1 added some new obligation to those which you had already heaped on me and mine1 and it will be one of my warmest wishes to be able to shew1 at some time or other1 that my gratitude lies deeper than my lips4 ,i have spent a day or two at ,purser's ,cross1 which is the name of your ,uncle's place2 though in the neighbourhood of ,london1 it is a sweet retired and healthful spot1 and if he could be persuaded to spend more of his time at it1 must be eminently conducive to his health4 ,i hope ,mrs4 ,johnson has not forgot her promise1 to come and reside and nurse him there1 as soon as it is in her power4 99 99 99 99 99 ,please to present my best compliments to all the friends ,i saw at your house1 or in your company4 ,i am1 dear sir1 ,your obedient friend and servant1 ,henry ,fuseli4 ,joseph ,johnson1 ,esq4 ,,chapter ,x4 ,the ,biographer's ,introduction to ,fuseli4--,new ,edition of ,pilkington's ,dictionary of ,painters1 superintended by ,fuseli4--,establishment of the ,british ,institution1 and ,fuseli's limited ,contributions to the ,exhibition there4--,subject from ,dante4--,fuseli's ,remarks on ,blake's ,designs4--,his ,lectures on ,painting renewed4--,tribute of esteem from the ,students of the ,academy4--,letter4--,death of ,mr4 ,johnson1 and ,fuseli's sympathy on the occasion4--,fuseli re-elected to the ,professorship of ,painting at the ,royal ,academy4 ,in ,june #ahbe1 ,mr4 ,bonnycastle1 late ,professor of ,mathematics to the ,royal ,military ,college at ,woolwich1 who had then been the intimate friend of ,fuseli for twenty-five years1 introduced me to him1 having observed previously to this introduction1 that ,i should find him a man of the most extensive knowledge1 quickness of perception1 ready wit1 and acuteness of remark1 that ,i had ever met with4 ,this introduction was soon followed by daily intercourse between ,fuseli and myself1 which ripened into the sincerest friendship1 and was the cause of my passing with him many of the happiest hours of my life4 ,in the year #ahje1 some of the booksellers wishing to publish an improved edition of ,pilkington's ,dictionary of ,painters1 applied to ,fuseli1 through ,mr4 ,johnson1 to be the editor4 ,in consequence of the solicitation of this friend1 he accepted the task1 but with reluctance1 as he had a mean opinion of the work1 and constantly designated its author a driveller4 ,to the original he added a great number of names1 and either re-wrote the lives1 or inserted in notes the characters of most of the principal painters of the several schools4 ,at this period1 a number of noblemen and gentlemen1 zealous for the encouragement of the fine arts in ,england1 especially historical painting1 established the ,british ,institution1 and ,fuseli was solicited to send thither some pictures for exhibition and sale4 ,he1 however1 had no high opinion of the scheme2 for although1 in common with other artists1 he wished it to succeed--for he held that the man who purchases one picture from a living artist1 which may have some pretensions to the highest class of art1 does more real service to the fine arts than he who spends thousands upon the works of the old masters2 yet he thought1 to use his own words1 from the colour of the egg1 it was more likely to produce an ichneumon than a sphynx2 and expressed reluctance to be a contributor4 ,mr4 ,coutts1 who used every endeavour to promote the establishment and the prosperity of the ,british ,institution1 advised him to become an exhibitor1 and to send1 among other pictures1 ,the ,lazar-house1 observing1 ,i never intended to deprive you of this1 it is yours1 and therefore sell it1 if you can4 ,in addition to this picture1 the price of which was fixed at #cjj guineas1 ,fuseli sent ,the ,nursery of ,shakspeare1 for which he asked #aej guineas2 and ,christ disappearing at ,emaus3 the price he put upon this was #ajj guineas4 ,the leading members of the ,institution hesitated to admit that admirable production of his pencil1 ,the ,lazar-house1 considering the subject too terrible for the public eye2 and they had three meetings before they came to the resolution of exhibiting it4 ,this hesitation on their part1 a slight degree of damage which ,the ,nursery of ,shakspeare sustained in its removal from the rooms1 and the not finding a purchaser for either of the pictures1 made ,fuseli resolve never to exhibit there again1 to which resolution he pertinaciously adhered4#ed ,in #ahjf1 he painted from ,dante1 ,count ,ugolino being starved to death with his four sons in the ,tower1 which1 from that circumstance1 was afterwards called1 ,torre della ,fame2 this picture1 as it came in competition with that well known subject from the pencil of ,sir ,joshua ,reynolds1 was admired and censured more than any other he had previously produced4 ,fuseli took the moment when ,ugolino is petrified by his situation1--bereft of tears1 his heart is turned to stone2 he has represented him in a sitting posture with his youngest son stretched dead over his knees1 while the other three are either writhing under the agonies of hunger1 dying1 or given up to despair4 ,this picture 7now in my possession7 is as superior in drawing1 in truth to nature placed under such circumstances1 and to the story1 as ,sir ,joshua's soars above it in colour1 in manual dexterity1 and in chiaroscuro4 ,mr4 ,blake1 who was not only a celebrated engraver1 but known also for his original designs1 distributed this year 7#ahje7 a prospectus for publishing an edition of the poem of ,the ,grave of ,william ,blair1 to be illustrated with fifteen plates designed and engraved by himself4 ,this work was patronized by the names of the principal artists of the day2 but before he entered upon its publication1 he submitted his drawings to the judgment of the then ,president of the ,royal ,academy 7,mr4 ,west71 and also to ,fuseli4 ,the latter1 in particular1 being pleased with the wildness of the invention1 wrote his opinion thereon in the following words3 ,the moral series here submitted to the public1 from its object and method of execution1 has a double claim on general attention4 ,in an age of equal refinement and corruption of manners1 when systems of education and seduction go hand in hand2 when ,religion itself compounds with fashion2 when1 in the pursuit of present enjoyment1 all consideration of futurity vanishes1 and the real object of life is lost--in such an age1 every exertion confers a benefit on society which tends to impress ,man with his destiny1 to hold the mirror up to life1 less indeed to discriminate its characters1 than those situations which shew what all are born for1 what all ought to act for1 and what all must inevitably come to4 ,the importance of this object has been so well understood at every period of time1 from the earliest and most innocent to the latest and most depraved1 that reason and fancy have exhausted their stores of argument and imagery1 to impress it on the mind3 animate and inanimate ,nature1 the seasons1 the forest and the field1 the bee and ant1 the larva1 chrysalis and moth1 have lent their real or supposed analogies with the origin1 pursuits1 and end1 of the human race1 so often to emblematical purposes1 that instruction is become stale1 and attention callous4 ,the ,serpent with its tail in its mouth1 from a type of ,eternity1 is become an infant's bauble2 even the nobler idea of ,hercules pausing between virtue and vice1 and the varied imagery of ,death leading his patients to the ,grave1 owe their effect upon us more to technic excellence than allegoric utility4 ,aware of this1 but conscious that affectation of originality and trite repetition would equally impede his success1 the ,author of the moral series before us has endeavoured to wake sensibility by touching our sympathies with nearer1 less ambiguous1 and less ludicrous imagery1 than what mythology1 ,gothic superstition1 or symbols as far-fetched as inadequate could supply4 ,his invention has been chiefly employed to spread a familiar and domestic atmosphere round the most important of all subjects1 to connect the visible and the invisible ,world1 without provoking probability1 and to lead the eye from the milder light of time to the radiations of ,eternity4 ,such is the plan and the moral part of the ,author's invention2 the technic part1 and the execution of the artist1 though to be examined by other principles1 and addressed to a narrower circle1 equally claim approbation1 sometimes excite our wonder1 and not seldom our fears1 when we see him play on the very verge of legitimate invention2 but wildness so picturesque in itself1 so often redeemed by taste1 simplicity1 and elegance1 what child of fancy1 what artist would wish to discharge8 ,the groups and single figures on their own bases1 abstracted from the general composition1 and considered without attention to the plan1 frequently exhibit those genuine and unaffected attitudes1 those simple graces which ,nature and the heart alone can dictate1 and only an eye inspired by both1 discover4 ,every class of artists1 in every stage of their progress or attainments1 from the student to the finished master1 and from the contriver of ornament to the painter of history1 will find here materials of art and hints of improvement6 ,this opinion he allowed ,blake to publish as recommendatory of his work4 ,in the early part of the year #ahjf1 the ,council of the ,royal ,academy requested that ,fuseli would again deliver a course of lectures on painting1 which he accordingly did1 as ,mr4 ,opie had not prepared his4 ,this course he prefaced by the following address3 ,gentlemen1 ,i once more have the unexpected honour of addressing you in this place1 at the request of the ,president and ,council1 with the concurrence1 and at the express desire of the ,gentleman whom the ,academy has appointed my successor1 and whose superior ability1 whenever he shall think proper to lay his materials before you1 will1 ,i trust1 make ample amends for the defects which your indulgence has1 for several years1 connived at in my recital of these fragments on our art4 ,fuseli had now been more than two years ,keeper of the ,academy1 which had afforded the students sufficient time to appreciate the value of his instructions1 particularly in the antique school4 ,and in order to mark their sense of the advantages which they had derived from his talents1 they presented him1 by the hands of ,mr4 ,haydon1 then a student1 with an elegant silver ,vase1 the design for which1 at their solicitation1 was given by that eminent artist ,flaxman2 it bears the following inscription3-- ,,to ,,henry ,,fuseli1 ,,esq4 ,r4,a4 ,,keeper ,,of ,,the ,,royal ,,academy1 ,,from ,,the ,,students4 #ahjg4 ,the ,vase1 by the desire of ,fuseli and the kindness of his widow1 is now in my possession2 and ,i not only value it as a beautiful work of art1 but regard it as a tribute paid to the genius and talents of my honoured friend1 whose memory will ever be held most dear in my recollection4 ,in the summer of #ahji1 ,fuseli wished me to accompany him into the country for a short time2 but as ,i had promised to pass three or four weeks with a relation and friend 7who was much esteemed by him71 the ,reverend ,thomas ,rackett1 at ,spettisbury1 in ,dorsetshire1 ,i could not accede to his solicitations4 ,the following letter written to me while there1 as it shews the disposition of his mind1 and gives some account of his pursuits1 may not be uninteresting in this place4 ,somerset ,house1 #cast ,august1 #ahji4 ,,dear ,,sir1 ,your letter of the #bfth1 which ,i found on my desk at my return from ,fulham1 gave me equal surprise and pleasure2 nothing but yourself could have been more welcome1 and ,i should not have waited till now1 to present you in answer with a scrawl of mine1 had ,i not been desirous of obliging ,mr4 ,cavallo by adding a specimen of ,lavater's hand-writing3 several old parcels of letters did ,i turn over1 but that which contains the chirognomic characters of my departed friend1 ,i have not yet been able to light on1 and am afraid it is in some bundle of papers at ,purser's ,cross1 to which place ,i shall probably return on ,saturday1 and on finding what ,i want1 take care to remit it to you for ,don ,tiberio4#ee ,the spirit in which you wrote your letter1 makes me happy2 a mind like yours1 fraught with all the requisites for genuine pleasure1 is sure to find it or to make it in every place2 how much must you enjoy then in the friendly mansion which separates you from me and those real friends you have left here6 ,your account of the ,nunneries you have visited1 confirms ,hamlets verdict3 ',frailty1 thy name is woman6' ,how self-contradictory1 that the 'animal of beauty1' as ,dante calls woman1 should exchange her claims to social admiration and pleasure1 and the substantial charms of life1 for the sterile embraces of a crucifix or some withered sister1 by the dim glimmer of cloistered light1--lost to hope1 and marked by oblivion for her own6 ,tyranny1 deception1 and most of all1 that substitute for every other want1 'the undistinguished space of woman's will1' can alone account for such phenomena4 99 99 99 99 99 ,september #ast4 ,so far ,i went yesterday1 when luckily some one prevented the process of my letter1 and opening to-day a parcel ,i had not thought of before1 ,i found some letters1 c4 of ,lavater's3 what ,i have enclosed1 is the address of one written to me when ,i lived in ,st4 ,martin's ,lane2 be so kind to present it to your friend4 ,what you say of ,mr4 ,rackett's politeness1 is extremely flattering1 and ,i beg you will return my respects and best wishes to him and the ladies4 ,as the weather has been so unpropitious1 ,i do not expect to hear of many entomological captures or discoveries3 ,i beg to inform him1 that of some pup of ,sphinx euphorbi1 found on the spurge of the ,devonshire sands1 ,i have reared1 perhaps for the first time in ,england1 two beautiful moths4 ,my wife is still at ,woolwich4 ,mr4 ,haughton's respects attend you3 and ,i1 ,my dear ,sir1 remain ,affectionately and sincerely yours1 ,henry ,fuseli4 ,to ,john ,knowles1 ,esq4 ,i have already noticed the social intimacy which subsisted for so long a time between ,fuseli and ,mr4 ,johnson the bookseller2 the latter had been afflicted with an asthma for many years4 ,in the month of ,december1 #ahji1 he had an alarming attack of this disorder1 which increasing rapidly1 a message was sent to ,fuseli1 intimating that if he wished again to see ,mr4 ,johnson1 he must come without delay4 ,a carriage was instantly ordered1 and as it drew up1 ,mr4 ,carrick ,moore the ,surgeon1 of whose abilities1 ,fuseli had the highest opinion1 accidently arrived at the ,academy4 ,fuseli1 who was in tears and in violent agitation1 cried out1 ,come with me1 ,i beseech you1 ,moore1 and save1 if possible1 my valued friend1 ,johnson4 ,on their arrival at ,mr4 ,johnson's house1 in ,st4 ,paul's ,church-yard1 they found him breathing with difficulty1 his countenance ghastly1 his limbs cold1 and his quivering pulse hardly perceptible2 he1 however1 recognised ,fuseli1 and expressed pleasure at seeing him4 ,but no means which were tried could restore the sinking energies of the vital functions1 and the patient in a short time ceased to live4 ,as ,fuseli had been on terms of intimacy and of the strictest friendship with ,johnson for nearly forty years1 this sad event shocked his sensitive heart4 ,he wrote the day after to ,mr4 ,joseph ,johnson1 the nephew1 in the following terms3-- ,london1 ,somerset ,house1 #bast ,dec4 #ahbi4 ,,my ,,dear ,,sir1 ,as the present melancholy occasion must bring you1 and perhaps ,mrs4 ,johnson1 to ,london1 permit me to request the favour of your remaining with us1 and taking a bed at our house during your stay4 ,if my grief for the loss of my first and best friend were less excessive1 ,i might endeavour to moderate your's2 but ,i want consolation too much myself to offer it to others4 ,my wife joins in my request to you and ,mrs4 ,johnson1 and we both remain ever your faithful but disconsolate friends1 ,sophia and ,henry ,fuseli4 ,joseph ,johnson1 ,esq4 ,mr4 ,johnson was regretted not only by a numerous circle of private friends1 but by the literary world in general4 ,many authors now living1 and others who have paid the debt of nature1 were fostered by his bounty1 and but for his encouragement the world would have been deprived of most of the beautiful poems of ,cowper2 for1 when ,the ,task1 not being appreciated by the public1 met with a very tardy sale1 its author had made up his mind to write no more4 ,mr4 ,johnson1 who was well aware of the merits of this poem1 urged him to proceed1 stating1 that he had no doubt it would finally receive that favour from the public which it so justly merited4 ,this expectation was afterwards realized to its utmost extent1 and the author received from his publisher a handsome but unexpected gratuity4#ef ,mr4 ,johnson was a man of probity1 liberality1 and sound sense1 with an acute judgment4 ,the author of this memoir1 who witnessed the urbanity of his manners1 and partook of the hospitality of his table at least once a-week for some years1 can bear testimony to these1 as well as to the good sense which he exercised1 and the prudence with which he allayed the occasional contests of his irritable guests1 many of whom were distinguished men of letters1 of various characters1 and conflicting opinions4 ,and although the conversation took a free range1 yet the placid equanimity of their host regulated in some degree its freedom1 and kept it within due bounds4 ,fuseli was always a favoured guest at this table2 when absent1 which rarely happened1 a gloom for the time pervaded the company3 but1 when present1 his acute taste in poetry1 oratory1 and the fine arts2 his original opinions1 singular ideas1 and poignant wit1 enlivened the conversation1 and rendered him a delightful companion4 ,on these occasions1 however1 ,johnson was rather a listener than a contributor2 but he enjoyed the animated remarks and retorts of his amusing friend1 and in his will left him a handsome legacy4 ,fuseli wrote the following epitaph1 which gives a just and unvarnished character of this amiable man1 and which is placed on his tomb in the church-yard of ,fulham3-- ,,here ,,lie ,,the ,,remains ,,of ,,joseph ,,johnson1 ,,late ,,of ,,st4 ,,paul',s1 ,,london1 ,,who ,,departed ,,this ,,life ,,on ,,the #bj,,th ,,day ,,of ,,december1 #ahji1 ,,aged #gb ,,years4 ,a ,,man ,,equally ,,distinguished ,,by ,,probity1 ,,industry1 ,,and ,,disinterestedness ,,in ,,his ,,intercourse ,,with ,,the ,,public1 ,,and ,,every ,,domestic ,,and ,,social ,,virtue ,,in ,,life2 ,,beneficent ,,without ,,ostentation1 ,,ever ,,ready ,,to ,,produce ,,merit ,,and ,,to ,,relieve ,,distress2 ,,unassuming ,,in ,,prosperity1 ,,not ,,appalled ,,by ,,misfortune2 ,,inexorable ,,to ,,his ,,own1 ,,indulgent ,,to ,,the ,,wants ,,of ,,others2 ,,resigned ,,and ,,cheerful ,,under ,,the ,,torture ,,of ,a ,,malady ,,which ,,he ,,saw ,,gradually ,,destroy ,,his ,,life4 ,the death of ,opie1 which took place rather unexpectedly1 in #ahjg1 after he had delivered only four lectures at the ,royal ,academy1 in which he availed himself of several remarks of ,fuseli in his unpublished discourses1 caused a vacancy in the ,professorship1 which was filled by the election of ,mr4 ,tresham4 ,this appointment he held until the early part of the year #ahaj1 and then tendered his resignation1 declining to lecture under the plea of indisposition4 ,the ,academicians met for the purpose of electing a ,professor of ,painting2 but no one offering himself1 all being aware of the great talents of ,fuseli in this particular1 they came to a resolution1 that a law which forbids the same person to hold two situations1 should be dormant in his case2 he was therefore re-elected ,professor of ,painting on the #ajth of ,february1 #ahaj1 and was allowed to retain the joint offices of ,keeper of the ,academy and ,professor of ,painting during the remainder of his life4 ,a higher compliment than this could not have been paid to any man1 and it marked in an extraordinary manner the estimation in which his talents were held4 ,,chapter ,,xi4 ,fuseli's prefatory ,address to his resumed ,lectures4--,his second ,edition of ,pilkington4--,he suffers from a nervous fever1 and visits ,hastings in company with the ,biographer4--,his ,picture of ,marcus ,curius1 and ,letter relative to it4--,letter from ,mr4 ,roscoe4--,canova's ,intercourse with ,fuseli4--,anecdotes of ,fuseli and ,harlow4--,letters from ,fuseli to the ,biographer4--,republication of his ,lectures1 with additions4--,death of ,professor ,bonnycastle1 and ,anecdote concerning him4--,death of ,fuseli's friend and patron1 ,mr4 ,coutts4--,an agreeable party at ,fuseli's house4 ,on the #bfth of ,february #ahaj1 ,fuseli resumed his course of lectures1 and prefaced them by the following address3-- ,mr4 ,president1 and ,gentlemen1 ,sincere as my gratitude and pleasing as my emotions must be on being1 by the indulgence of the ,academy1 appointed to address you again1 ,i should feel myself unworthy of this honour were ,i not to regret the infirm state of health1 the unfortunate cause which occasioned the resignation of the ,professor of ,painting1 and disappointed the expectation you had a right to form from the display of his brilliant talents4 ,severely1 however1 as this disappointment may be felt by you1 it is a consolation to reflect that we still possess him1 and that the ,academy may still profit by his advice and practical abilities3 but what can ,i offer to mitigate our grief on the awful decree which snatched from us his predecessor1 your late lecturer1 my departed friend8 ,in him society has lost one of its best members1 our ,art one of its firmest supporters1 the ,academy one of its brightest ornaments1 and you a solid1 experienced1 forcible1 and lucid instructor4 ,the innate vigour of his mind supplied every want of education2 his persevering energy ruled circumstances1 and made necessity the handmaid of the art2 his judgment1 at a very early period1 discriminated the art itself from those vehicles of which he possessed1 in a very high degree1 the most splendid2 add to these1 that insatiable curiosity1 which not only stimulated him to examine every system1 and to collect every observation on art1 but to court all relative knowledge1 and whatever1 though more distant1 might tend to illustrate his argument1 enforce his proofs1 or assist his researches2 and you have an aggregate of qualities1 which1 if he had been suffered to complete his course1 would have enabled him to present you with a more connected series of instructions for your studies than perhaps ever fell to the lot of any other school1 and might have conferred on ,england the honour of having produced the best combined1 least prejudiced1 if not the most lofty or extensive system of art4 ,such was your teacher3--to expatiate on the artist before his companions1 admirers1 rivals1 and scholars1 within these walls1 which have so often borne testimony to the splendour and versatility of his powers1 would be equally presumption and waste of time3 that characteristic truth1 that unaffected simplicity and air of life which discriminate his portraits2 the decision1 the passion1 the colour1 the effects that animate his history2 the solidity of his method1 his breadth and mellowness of touch1 now fresh before us1 with his writings1 will survive and consecrate to memory the name of ,,opie4 ,fuseli1 this year 7#ahaj71 gave a second edition of his ,pilkington's ,dictionary of the ,painters2 to this he added more than three hundred names and characters of artists1 chiefly of the ,spanish school1 enlarged the notes given in the previous edition1 corrected some mistakes in dates1 and gave in an appendix a few names which had been omitted in the alphabetical order1 and also many particulars of the great masters of the ,italian school2 the last he considered as too prolix for the body of the work4 ,in the summer of #ahac1 ,fuseli was attacked with a considerable degree of fever on the nerves1 attended with great depression of spirits3 this he considered a similar disease1 but much milder in its effects than that with which he had been afflicted in #aggb1 at ,rome4 ,this indisposition he felt the more1 from having enjoyed for the last forty-three years1 an uninterrupted state of good health4 ,his medical friends advised change of air1 and more particularly for that of the sea-side4 ,he accordingly determined to pass a month at ,hastings1 and prevailed upon the writer of this memoir to accompany him thither4 ,the frequenters of this salubrious bathing-place1 called by some the ,montpelier of ,england1 will hardly recognise1 from its present improved state1 the description given of it by ,fuseli in a letter to a friend2 but it was a true picture of the town at that time4 ,hastings appears to me to have been constructed by a conspiracy of bone-setters1 surgeons1 and dissectors1 as the most commodious theatre of all possible accidents in contusions1 falls1 dislocations1 sprains1 and fractures4 ,the houses of one side of the ,high-street1 i4e4 the most inhabited part of the town1 are built on what they misname a terrace2 but1 in fact1 it is a mass of stony fragments gathered from the shore1 without any other polish than what the wave had left behind2 raised four or five feet above the road1 unguarded on the edge1 and consequently1 without the perpetual interference of miracles1 fatal to every stranger who approaches them at night1 in winter thaws1 when spangled with ice1 or flooded from the tremendous ridge that beetles o'er the house-tops4 ,to form an adequate and correct opinion of the extent of ,fuseli's talents and information1 and a proper notion of his feelings1 it was necessary to be an inmate of the same house3 from the experience of this and a subsequent opportunity1 ,i can1 with truth1 assert1 that he was not only a most intellectual1 but a pleasant and accommodating companion4 ,after a month had been spent at this pleasant watering-place1 ,i had the satisfaction of returning to ,london with him1 he being restored to perfect health4 ,this year 7#ahac7 he painted a picture for ,mr4 ,joseph ,johnson1 of ,liverpool1 ,marcus ,curius preparing his frugal repast4 ,when ,mr4 ,johnson gave the commission1 he said1 ,i wish the subject to be some mentally heroic action1 taken either from the ,english or ,roman ,history4 ,when this picture was finished1 ,fuseli addressed the following letter to his friend3-- ,london1 ,oct4 #h1 #ahac4 ,,dear ,,sir1 ,i have not been unmindful of what you so kindly commissioned me to undertake for you1 and the picture which ,i have painted now only waits your commands4 ,the subject1 though not ,english1 is congenial with your own mind1 and selected from the most virtuous period of ,rome4 ,if ,i remember rightly1 you approved of it when we discussed the subjects here2 but as you may not perhaps have since had leisure to reconsider it1 you will permit me to repeat it as concisely to you as ,i can1 and nearly in the words of ,valerius ,maximus4 ',marcus ,curius1 who had repeatedly smitten the ,samnites1 seated in his rustic chair1 preparing his simple meal in a wooden bowl1 exhibited to the admiring ,legates of the ,samnites at once1 with the proof of the most rigid frugality1 his own superiority4 ,commissioned by the state1 they spread before him treasure1 and humbly solicited his acceptance4 ,with a smile of disdain1 scarcely deigning to look at it1 ,curius replied--,take back these baubles to those who sent you1 and tell them that ,marcus ,curius prefers subduing the rich to being rich himself1 and that you found him as impregnable by bribes as irresistible in arms4' ,such is the subject1 my dear ,sir1 which ,i have endeavoured to compose and execute for you1 as well as my capacity and practice permitted2 ,i wish they had been greater4 ,i remain1 with my wife's and my own warmest wishes for your own1 dear ,mrs4 ,johnson's1 and son's health and happiness1 dear ,sir1 ,your obliged and sincere friend1 ,henry ,fuseli4 ,joseph ,johnson1 ,esq4 ,fuseli kept up a constant intercourse with his friends at ,liverpool1 and particularly with ,mr4 ,roscoe4 ,the correspondence which passed between this gentleman and him sometimes had relation to literature1 but more frequently to the fine arts2 the following is a specimen of the latter3-- ,liverpool1 #bdth ,may1 #ahad4 ,,my ,,dear ,,friend1 ,when my son ,robert left us1 about ten days since1 ,i sent by him a slight outline of a frieze1 under a picture of a ,holy ,family1 by ,ghirlandajo1 desiring him to give it you1 and to enquire whether you agree with me in thinking it likely to be the production of ,michelagnolo1 who is said to have painted in the pictures of ,ghirlandajo1 whilst a student with him4 ,slight as it is1 being1 in fact1 only the copy of a copy1 you will be able to form an opinion of it at first sight4 ,the picture is in distemper as well as the frieze1 which is executed in chiar' oscuro1 in a sort of oblong broken touches1 producing on the whole a good effect4 ,the superiority of the style of the frieze to that of the picture is evident1 and demonstrates to a certainty that they are the work of different hands4 ,i think ,i also told you1 some time since1 that ,i had a picture of ,leo ,x41 with the ,cardinals de' ,medici and ,rossi1 which ,i have reason to believe is the copy made by ,andrea del ,sarto1 from that of ,raffaelle1 and which was first sent to ,mantua1 afterwards went to ,parma1 and thence to ,capo di ,monte1 where it is now no longer to be found4 ,many persons who had seen it there1 assure me this is undoubtedly the same picture4 ,i have had it some years1 and having been frequently asked whether ,i had taken it out of the frame to look for the mark mentioned by ,vasari1 ,i determined1 a few months since1 to examine it1 and sending for two or three friends1 we took it out1 and on the edge of the pannel1 near the shoulder of the ,cardinal de' ,medici1 found the remains of an inscription1 in large letters1 which ,i conjecture to mean1 ,andrea ,florentinus ,pinxit1 with the date1 which is so far obliterated as to be wholly illegible4 ,at all events1 there undoubtedly has been an inscription on the edge of the pannel1 a circumstance in itself highly favourable to its being the very picture which ,vasari has described4 ,this picture is most highly finished1 has an indescribable force of colouring1 and is in as fine a state of preservation as the day it was painted4 ,those who have seen the picture of ,raffaelle in the ,louvre1 assure me that this is in every respect equal to it4 ,i long to have your decision on these two pictures1 but hope it will be on the spot4 ,i lately got a fine picture by ,bernardino ,lovini1 which confirms in every point the account which ,lanzi and you have given of him4 ,it is a ,holy ,family1 with two attendant pilgrims1 saints1 small life4 ,i think you will admire it for its simplicity1 pathos1 and beautiful colouring4 ,i have a friend in ,liverpool1 who is a good chymist1 and prepares colours1 which ,i believe to be of a superior quality4 ,his name is ,strahan1 and his agent for the sale of them in ,london1 is ,mr4 ,thos4 ,clay1 ,no4 #ah1 ,ludgate-hill4 ,i shall esteem it a favour if you will make a trial of them1 and if they should be found to answer better than those you are already supplied with1 would recommend them to your friends4 ,i believe they are already in some degree known amongst the artists2 but ,mr4 ,strahan is very desirous that you should make a trial of them2 and ,i have promised him all my interest with you for the accomplishment of his wishes4 ,i hope ,robert will have called on you before you receive this3 for your kindness and friendship both to him and ,richard accept my best thanks1 and believe me1 my dear friend1 unalterably yours1 ,w4 ,roscoe4 ,canova visited ,england in the summer of #ahaf1 and was then very much struck with the pictures1 as well as pleased with ,fuseli's society4 ,this eminent sculptor remarked1 that he not only showed the brilliancy of genius in his conversation1 but that he spoke ,italian with the purity of a well-educated native of ,rome4 ,and on his return1 the ,academy of ,st4 ,luke1 at ,rome1 at his request1 sent a diploma1 constituting ,fuseli a member of the first class1 an honour which was conferred also1 by the like recommendation1 upon ,sir ,thomas ,lawrence and ,mr4 ,flaxman4 ,in the year #ahag1 ,fuseli sat1 at my request1 to ,harlow for his portrait1 which is on pannel1 of a cabinet size4 ,this eminent painter was highly gratified by the compliment1 and exerted every faculty to do his best4 ,fuseli obliged him and me by giving for this picture twelve sittings of two hours each2 and a more perfect resemblance1 or characteristic portrait1 has seldom been painted4 ,i attended ,fuseli at each sitting1 and during the progress of this portrait4 ,harlow commenced and finished his best and most esteemed work1 ,the trial of ,queen ,katherine1 in which he has introduced many portraits2 but more particularly those of the ,kemble family2 in the performance of this work1 he owed many obligations to ,fuseli for his critical remarks2 for when he first saw the picture 7chiefly in dead colouring71 he said1 ,i do not disapprove of the general arrangement of your work1 and ,i see you will give it a powerful effect of light and shadow2 but you have here a composition of more than twenty figures1 or ,i should rather say parts of figures2 because you have not shewn one leg or foot1 which makes it very defective4 ,now1 if you do not know how to draw legs and feet1 ,i will shew you2 and taking up a crayon1 drew two on the wainscot of the room4 ,harlow profited by these remarks1 and the next time we saw the picture1 the whole arrangement in the foreground was changed4 ,fuseli then said1 ,so far you have done well2 but now you have not introduced a back figure1 to throw the eye of the spectator into the picture2 and then pointed out by what means he might improve it in this particular4 ,accordingly ,harlow introduced the two boys who are taking up the cushion2 that which shews the back1 is altogether due to ,fuseli1 and is certainly the best drawn figure in the picture4 ,fuseli afterwards attempted to get him to improve the drawing of the arms of the principal object 7,mrs4 ,siddons71 who is represented as ,queen ,katherine1 but without much effect1 particularly the left2 and after having witnessed many ineffectual attempts of the painter to accomplish this1 he desisted1 and remarked1 ,it is pity that you never attended the ,antique ,academy4 ,harlow proved himself1 on many occasions1 to be among the vainest of men1 and generally wished it to be believed that he possessed information to which he was a stranger4 ,on one occasion he said to me1 ,it is extraordinary that ,fuseli1 who is so fine a scholar1 should suffer engravers to place translations under the plates taken from the classical subjects painted by him2 and remarked1 ,i was educated a scholar1 having been at ,westminster school1 and therefore wish to see the subjects given in the original languages1 and then imprudently instanced the print taken from his picture of the death of ,oedipus4 ,when ,fuseli appointed the next sitting1 on our way to ,harlow's house1 ,i mentioned this conversation to him1 and added1 ,i really think he does not understand one word of ,greek or ,latin1 to which he gave his assent1 and remarked1 ,he has made1 ,i think1 an unfortunate choice2 for1 if ,i recollect rightly1 the ,greek passage1 as well as my translation of it1 are scratched in under the mezzotinto4 ,but before we part1 ,i will bring his knowledge to the test4 ,after he had sat the usual time1 he asked for a piece of chalk1 and wrote in large letters1 on the wainscot1 the following passage3-- ktupse men zeus chthonios1 hai de parthenoi rhigsan hs kousan2 es de gounata patros pesousai1 klaion4#eg ,after having done so1 he said to ,harlow1 ,read that1 and finding by his hesitation that he did not understand a letter1 he resumed1 ,on our way hither1 ,knowles told me you had said that ,i ought not to permit engravers to put translations under the prints taken from me1 and that you had instanced the ,oedipus2 now that is the ,greek quotation whence the subject is taken1 and ,i find you cannot read a letter of it4 ,let me give you this advice3 you are undoubtedly a good portrait painter1 and ,i think in small pictures1 such as you are painting of me1 stand unrivalled2 this is sufficient merit2 do not then pretend to be that which you are not1 and probably from your avocations never can be--a scholar4 ,unfortunately for ,harlow1 he was very unpopular with the ,royal ,academicians1 and when he offered himself as a candidate for an ,associate of the ,academy1 there was but one vote in his favour4 ,on the evening of the election1 ,fuseli was taxed by some of his friends with having given it1 and he answered1 ,it is true1 ,i did1--,i voted for the talent1 and not for the man4 ,this was not a solitary instance in which ,fuseli exercised his judgment as to the fitness of men to fill offices in the ,academy2 and accordingly voted for them1 distinct from any private consideration4 ,on a vacancy happening for the ,professorship of ,anatomy1 ,mr4 ,charles ,bell was among the candidates3 this gentleman was unknown to ,fuseli1 except by his works3 his vote was requested by one of his best and most intimate of friends 7,mr4 ,coutts7 for another person3 ,i cannot1 said he1 oblige you2 ,i know of no man in ,england who is a better demonstrator than ,bell2 and for a surgeon1 he is a good artist2 such a man therefore the ,academy wants for their ,professor1 and1 as such1 ,i must vote for him4 ,the month of ,september #ahag1 ,i passed with my relation and friend1 ,richard ,wilson1 ,esq4 of the ,cliff-house1 at ,scarborough2 on this occasion1 as was always the case when out of ,london1 ,fuseli corresponded with me2 two of his letters are preserved1 and ,i cannot refrain from giving them to the public1 as they shew the kindness of his disposition1 and the terms of friendship which subsisted between us4 ,understanding that my apartments were about to be repainted1 he wrote as follows3-- ,to any other person an apology might be necessary2 to you1 whose friendship can neither be heated or cooled by correspondence or silence1 ,i despise offering any3 if by remaining mute1 ,i have deprived myself of one source of pleasure1 it has reserved to me another1 when we meet3 your letter made me happy1 because you could not have written it1 had you not been so yourself4 ,hammond has perhaps told you that ,i went to ,luton with him and ,roscoe3 ,i spent some happy hours there2 and1 of course1 but few4 ,since my return1 ,i have been riding or crawling in a kind of daylight-somnambulism between this place1 ,brompton1 and ,putney-hill4 ,whether ,i shall continue so to do the remainder of the month1 or go to snuff in some sea air1 will depend upon my wife's success or disappointment at ,cheltenham4 ,the chief reason why ,i send you this scrawl1 is to offer you a bed here at your return1 on the same floor with myself1 and a chamber as pleasant and as well furnished as my own1 viz4 with demigods and beauties4 ,i earnestly request you to accept of it1 and not to persist in the foolhardy resolution of sleeping in a newly painted room4 ,if ,hammond is obliged to have his house painted1 pray oblige me with your compliance1 and1 in giving me the preference1 you will be at home1 and your brother can surely not except against it1 considering the distance at which he lives4 ,i will not take a refusal4 ,i feel my head so stupid1 my hand so disobedient1 my pen so execrable1 my ink such a mudpond1 that ,i ought in mercy to save you the trouble of deciphering more4 ,adieu1 love me as ,i do you1 neither more nor less1 and hasten your return4 ,ever1 ,henry ,fuseli4 ,somerset ,house1 ,september #ab1 #ahag4 ,to ,john ,knowles1 ,esq4 ,i accepted of his kind offer1 and in my letter doing this1 gave him a transcript of an epitaph in ,latin1 inscribed on a brass plate which is affixed to a pillar in the north aisle of ,scarborough ,church1 and which is not only admired there for the expression of feeling which it contains1 but for its ,latinity4 ,this epitaph is as follows3-- ,dum te1 chara ,uxor1 gelido sub marmore pono1 ,illustret vigili lampade funus amor2 ,heu6 periit pietas dulcissima1 casta cupido1 ,teque omnis virtus qu negat esse meam4-- ,oh6 qum felicem nuperrima ,sponsa besti6 ,nunc pariter miserum reddis amata ,virum4 ,iste dolor levis est charos ubi casus amicos1 ,mors ubi disjungit1 sola tremenda venit4 ,in piam ,memoriam ,ann charissim ,uxoris1 hc dedicavit mstissimus ,maritus ,j4 ,north3 ,obiit die ,xmo #dto ,augusti1 ,anno ,dom4 #afie1 tatis su #bb4 ,in answer to this letter1 he wrote to me as follows3-- ,putney-hill1 ,september #bj1 #ahag4 ,,my ,,dear ,,sir1 ,you have given me the greatest pleasure in accepting the offer which ,i took the freedom of making to you2 and my wife1 the moment she hears of it1 will as much be flattered by your kindness as myself1--for1 before she went off1 she earnestly desired me to make the request4 ,thanks for the epitaph1--but with all possible respect for ,mr4 ,j4 ,north's ,latinity and feelings1 and notwithstanding the very free1 correct1 and scholastic manner in which you have transcribed his effusion2 bowing likewise to the taste and discrimination of the ,learned where you are2 ,i must own that the sense of the fourth1 and construction of the seventh and eighth lines are not very clear to me4 ,i am rambling about here in the charming thickets of this villa1 deliciously asleep1 if fancy wake me not now and then with the thunder of the wave beneath your feet4 ,you cannot now stay long from ,yours1 ever1 ,henry ,fuseli4 ,john ,knowles1 ,esq4 ,the month of ,september #ahah1 was passed by me with ,fuseli and ,mrs4 ,fuseli at ,ramsgate2 he was then in excellent health and spirits1 and although in his seventy-eighth year1 had considerable bodily strength and activity4 ,our constant practice was1 to leave the house about five o'clock in the morning1 and sometimes earlier1 to walk until eight1 breakfast1 and employ ourselves during the middle of the day in reading or writing4 ,we walked for an hour before dinner1 and did the same in the evening before we retired to rest1 the usual hour for which was about ten o'clock4 ,it was at this place that ,i collated his aphorisms in their present form1 under his inspection1 and then made a fair copy of them for the press4 ,in the year #ahbj1 he published a quarto volume1 containing three additional lectures1 reprinted the three which appeared in the year #ahja1 with some alterations and additions1 and wrote an introduction1 which he called ,a ,characteristic ,sketch of the ,principal ,technic ,instruction1 ,ancient and ,modern1 which we possess4 ,this work was purchased by ,mr4 ,cadell the bookseller1 for three hundred pounds4 ,mr4 ,bonnycastle1 the ,professor of ,mathematics to the ,royal ,military ,college at ,woolwich1 died this year 7#ahba71 in the seventieth year of his age2#eh he had been for more than forty years the intimate friend1 occasional companion1 and always a great admirer of the talents of ,fuseli4 ,bonnycastle was a mathematician of celebrity1 independently of which he had a fine taste for poetry and ,english literature in general2 his memory was retentive1 his knowledge extensive1 and he was ever ready to communicate what he knew4 ,his conversational talents were of the first order1 and he occasionally enlivened his remarks with apposite anecdotes4 ,as he was the friend of my youth1 ,i feel much satisfaction in recording here my gratitude for instruction and many acts of kindness received from this amiable man4 ,the following anecdote will afford a proof of the delicacy and feeling of ,bonnycastle's mind1 and also of his excellent disposition4 ,when his ,introduction to ,astronomy was published1 it was reviewed with a considerable degree of asperity in a popular work of the day4 ,several of his scientific friends1 and ,reuben ,burrow in particular1 considered that it had not been fairly dealt with by the reviewer1 and they determined to discover the writer3 they at length found out that it was ,mr4 ,wales1 ,mathematical ,master of the ,school of ,christ's ,church ,hospital4 ,burrow1 who was a man of quick sensibility1 and an excellent mathematician1 was determined to avenge the cause of his friend1 and constantly expressed anxiety for the appearance of some new book by ,wales2 at length one was published1 upon ,the ,method of ,finding the ,longitude at ,sea by ,chronometers4 ,burrow procured a copy of this work1 had it interleaved1 and wrote numerous remarks on1 and confutations of many parts of it1 which he carried to ,bonnycastle1 and said1 ,as you have a more polished pen than myself1 use these observations of mine1 and make up a sharp review of this paltry book for the public4 ,bonnycastle lost no time in doing this1 and was on his road to ,london1 with the review in his pocket for publication1 when he accidentally met ,wales1 who was then in so bad a state of health that he appeared to be in the last stage of a consumption4 ,this affected the mind of ,bonnycastle so strongly that1 on his arrival in ,london1 he immediately burnt the manuscript review1 being determined not to hurt the feelings of a man labouring under disease1 and thus perhaps to accelerate his death4 ,in the year #ahbb1 ,fuseli was bereft of another old and valued friend1 ,mr4 ,coutts1 the opulent banker1 with whom he had been acquainted nearly sixty years4 ,this gentleman had on many occasions afforded him valuable proofs of his sincere friendship4 ,with him1 and with his family during the latter period of his life1 in particular1 ,fuseli was almost domesticated4 ,by them1 his very wishes were anticipated1 and he received from their hands1 such attentions as can arise only from feelings of respect and regard1 accompanied by those comforts and elegancies which wealth alone can bestow4 ,and ,i cannot refrain from expressing my conviction1 that these attentions1 which were afforded without the least ostentation1 not only contributed to make the winter of his life pleasant1 but really prolonged the existence of a man to whom the public are so much indebted as an artist1 critic1 and teacher of the ,fine ,arts4 ,it has been often remarked1 that old men do not feel so acutely the loss of relations and friends1 as those who are of a less advanced age4 ,but this was not the case with ,fuseli2 for1 although now in his eighty-first year1 his faculties were unimpaired1 and he still possessed a great degree of sensibility4 ,as one friend dropped into the grave after another1 he felt the loss of each1 and constantly exclaimed1 ,it is my turn next1 advising me at the same time1 as ,i advanced in life1 to cultivate the friendship of men younger than myself1 that ,i might not be left without friends in old age4 ,although when a younger man he appeared to his acquaintances to cling much to life1 yet now when he spoke of death1 it was without fearful forebodings4 ,death1 he used to say1 is nothing2 it is the pain and feebleness of body under a lingering disease1 which often precedes death1 that ,i dread2 for1 at my time of life1 ,i can look forward but to a day1 and that passes quickly4 ,the following extract of a letter to the ,countess of ,guilford1 dated the #agth of ,november #ahba1 and written on his return to ,london with ,mrs4 ,fuseli1 after they had passed some time at ,brighton1 will further show his feelings on this subject4 ,taciti1 soli1 e senza compagnia4 ,we jogged on1 though at a swifter pace than ,dante and his guides1 sympathising 7one at least17 with autumn's deciduous beauty1 and whispering to every leaf the eye caught falling1 ,soon shall ,i follow thee6 ,indeed1 were it not for those ,i should leave behind1 ,i would not care if now4 ,mr4 ,roscoe this year 7#ahba7 visited ,london4 ,from ,fuseli's advanced age1 and ,mr4 ,roscoe's weakness of body1 the former anticipated that it would be the last time they should meet--which anticipation1 ,i believe1 was realized4 ,a day or two after ,mr4 ,roscoe's arrival1 ,i received the following note from ,fuseli4 ,sunday1 #aath ,february1 #ahba4 ,,my ,,dear ,,sir1 ,old ,mr4 ,roscoe is in town for a few days at his son ,robert's house1 ,no4 #f1 ,dyer's ,buildings1 ,holborn3 ,i am to dine with them on ,tuesday1 at five3 ,robert came to invite you to the party1 but finding you were out of town to-day1 requested me to do it for him4 ,you cannot do a thing more agreeable to them or me than comply with our request1 if disengaged2 and as it probably may be the last time you will see ,mr4 ,roscoe in ,london1 ,i hope you will suffer no trifling engagement to deprive us of you4 ,ever1 ,henry ,fuseli4 ,we may go together4 ,to ,john ,knowles1 ,esq4 ,a few days afterwards ,i had again the pleasure to meet ,mr4 ,roscoe at ,fuseli's table2 there were also present1 ,sir ,thomas ,lawrence1 ,mr4 ,lock1 ,mr4 ,howard1 ,r4,a41 ,mr4 ,j4 ,symmons1 and ,mr4 ,robert ,roscoe4 ,the conversation was desultory1 sometimes upon literature1 at others upon art2 and at two more intellectual dinner-parties ,i have seldom been present4 ,fuseli was animated and energetic1 and shewed that he then possessed a mind of the greatest vigour1 with an unimpaired memory4 ,,chapter ,,xii4 ,decline of ,fuseli's ,health4--,letter from ,mr4 ,james ,c4 ,moore4--,fuseli's ,bust by ,baily1 and ,portrait by ,sir ,thomas ,lawrence4--,his last ,academical ,lectures4--,particulars of his ,illness and ,death4--,proceedings relative to his interment1 with an account of the ceremony4--,copy of his ,will4 ,the intimates of ,fuseli had observed1 with much concern1 that for two or three years1 although his general health did not appear to be materially affected by age1 yet there was a predisposition to water in the chest1 which usually manifested itself when he took cold1 by his being occasionally affected with some difficulty in breathing1 irregularity of pulse1 and also by the swelling1 in a slight degree1 of his feet and ancles4 ,these symptoms were repeatedly removed1 in a few days1 by the appropriate remedies1 but after intervals they recurred4 ,on the #bc;d ,august1 #ahbc1 he sent a note to my house1 early in the morning1 expressing a wish to see me immediately1 which summons ,i promptly obeyed4 ,on my arrival1 he said1 that although when we parted at ten o'clock the preceding evening1 he did not feel at all indisposed2 yet1 shortly after he had retired to bed1 he found a difficulty in breathing1 such as he had never before experienced1 and that his legs were much swollen1 and wished therefore to consult a friend of mine1 ,dr4 ,maton4 ,i told him that the ,doctor was absent from ,london1 and therefore advised him to send for a physician with whom he and ,i were well acquainted1 7,sir ,alexander ,crichton17 to meet his friend and usual medical adviser1 ,mr4 ,richard ,cartwright2 to which proposal he assented4 ,mrs4 ,fuseli was at this time at ,brighton1 for the benefit of her health2 and he gave me strict injunctions not to inform her of his indisposition4 ,but as his medical advisers told me the disease was water in the chest1 and that the symptoms were alarming1 ,i wrote to ,mrs4 ,fuseli1 informing her in some degree of the facts2 and1 although much indisposed herself1 she came immediately to ,london4 ,his case1 for some time1 was considered to be almost hopeless2 and ,sir ,thomas ,lawrence1 in anxious solicitude for the safety of his friend1 advised that ,dr4 ,holland should also be consulted4 ,this gentleman was fully aware of his danger1 but coincided in every respect in the propriety of the previous treatment1 and said that nothing more could be done4 ,after three weeks of suffering1 which ,fuseli bore with patience and fortitude1 his spirits never having forsaken him1 nature made a great effort1 and he1 contrary to the expectations of his medical attendants1 rallied1 and in a few weeks more was restored to a state of comparative health4 ,during this illness1 he received the visits of his particular friends in the evening1 and conversed with his usual energy2 and it must have been highly gratifying to his feelings to see the anxiety which they manifested for his safety2 more particularly the ,countess of ,guilford and her two amiable daughters1 the ,ladies ,north1 and also ,sir ,thomas ,lawrence1#ei who1 with the writer of this account1 allowed no engagement to interfere1 and were his constant companions every evening4 ,his friends who were absent from ,london amused him with their letters1 one of which is here transcribed4 ,stranraer1 ,aug4 #aj1 #ahbc4 ,,dear ,,fuseli1 ,i wrote you a few days ago2 but as you've got a new doctor1 ,i'll scribble again4 ,dr4 ,holland seems to be ,lady ,guilford's1#fj and every ,lady thinks her's the best4 ,besides1 she may deduce from high authority1 'that when two or three are gathered together1' the curer may be amongst them4 ,independently of their instructions1 communicate to her ,ladyship1 that1 from my knowledge of your constitution1 ,i am sure that a glass of hock and soda will be both salutary and agreeable4 ,half a dozen of the best from ,hochheim will then be transmitted to you4 ,i say nothing of physic1 of which plenty will be prescribed3 but1 however nauseous1 swallow it all4 ,pour out execrations on the d--d drugs1 rail with wit and spleen on the ignorance of your doctors1 and obey them implicitly2 by all which you will obtain all the relief from physic and physicians that is possible4 ,mr4 ,knowles sends us frequent bulletins1 for which we are most grateful4 ,he acts like your warm and constant friend4 ,friendship was a quality you often extolled3 the affection of relations you used to hold cheap1 as a mere instinctive sensation2 whereas friendship is a rational selection4 ,it was that quality which humanised ,achilles1 who without it would have been a brute4 ,bestow some of it1 then1 upon me1 and dictate a few words of comfort2 for ,i have long been1 before you knew ,knowles1 your faithful friend1 ,james ,carrick ,moore4 ,after his recovery1 it was evident that this severe illness had made an inroad on his constitution2 for1 although it had no apparent effect upon his mental energies1 yet it was apparent that his bodily exertions were enfeebled2 for1 when he was enabled to resume his accustomed exercise of walking1 it was not performed with that long stride and firm step for which he had been before remarkable4 ,in the year #ahbd1 ,fuseli sat to ,mr4 ,baily for a bust1 which was executed in marble3 he had always a high opinion of the talents of the sculptor1 and on this occasion said to me1 ,i assure you1 as an artist1 that there is much more of truth1 expression1 and feeling1 in ,baily's work than in that of his competitors1 however much they may enjoy the public favour4 ,on this bust he had the following line chiselled3-- ,,hyperid,n ,,ha ,,nyn ,,einai ,,phamen4 ,sir ,thomas ,lawrence also entertained a high opinion of ,mr4 ,baily's talents as a sculptor2 and1 in addition to the bust of ,fuseli1 had those of ,flaxman1 ,smirke1 and ,stothard chiselled by him4 ,these were placed among the exquisite specimens of ancient and modern art which adorned his dining-room4 ,in the early part of #ahbe1 he sat for a half-length portrait to ,sir ,thomas ,lawrence1 which this great artist executed admirably4 ,at this time the ,earl of ,eldon was also sitting for his likeness1 and ,fuseli1 not recognizing the countenance1 asked ,sir ,thomas who it was8 who answered1 ,it is the ,chancellor4 ,fuseli took a piece of chalk1 and immediately wrote on the picture-- ----#fa,quia me vestigia terrent ,omnia te adversum spectantia1 nulla retrorsum4 ,when ,lord ,eldon saw this1 he was much amused2 and on being told that it was written by ,fuseli1 laughed heartily4 ,in the spring of #ahbd1 ,i persuaded him not to lecture1 which it was his intention then to do1 being apprehensive that the exertion which he must employ would be too great for his diminished strength2 in the early part of #ahbe1 he however delivered his last course of lectures1 with certainly less of energy of manner1 but without much apparent fatigue3 he had also prepared some pictures for the ensuing exhibition at the ,royal ,academy4 ,notwithstanding these proofs of remaining powers1 on ,sunday1 the #ajth of ,april #ahbe1 ,fuseli1 being then on a visit to the ,countess of ,guilford at ,putney ,hill1 complained of indisposition1 while walking in the pleasure-grounds4 ,he was engaged on that day to dine in ,st4 ,james's ,place1 with ,mr4 ,samuel ,rogers2 and ,lady ,guilford had ordered her carriage to convey him thither2 but as his illness continued1 ,mrs4 ,fuseli prevailed upon him 7with difficulty7 to remain in the house1 and he gave up the engagement4 ,it was an affecting coincidence1 that on the evening before1 being out on the lawn with the ,ladies ,north1 and looking at the stars1 which shone with great brightness1 he said1 7possibly from the consciousness of symptoms which he considered dangerous17 ,i shall soon be amongst them4 ,on the ,monday1 it was evident to all about him that he was much worse1 and he expressed a strong desire to see me2 being informed of his illness1 ,i immediately went to ,putney1 and from his altered appearance had great fears of what would be the issue4 ,the opinions of ,sir ,alexander ,crichton and ,dr4 ,holland1 who arrived there shortly after1 confirmed my apprehensions1 for they said1 when questioned by me1 that they could not give any specific name to the complaint2 for it appeared to them1 that all the functions of nature had given way1 and1 in their opinion1 he could not last many days4 ,the attentions of the ,countess of ,guilford and her family to ,fuseli were unremitting2 every thing was done by them to promote his comfort1 and even to anticipate his wishes2 the question constantly asked was1 ,can nothing further be done to keep him a little longer with us8 but it was too apparent1 notwithstanding these kindnesses1 and the skill and attention of his physicians1 that life was fast ebbing4 ,i saw him every day1 and ,i have reason to believe that1 from the commencement of his illness1 he did not expect to recover2 for1 on the ,wednesday1 he put his hand into mine1 and said1 ,my friend1 ,i am fast going to that bourne whence no traveller returns4 ,but he neither expressed regret at his state1 nor1 during his illness1 shewed any despondency or impatience4 ,i left him at a late hour on the ,friday 7the evening before he died72 he was then perfectly collected1 and his mind apparently not at all impaired1 but his articulation was feeble1 and the last words which he addressed to his physicians1 the death guggles being then in his throat1 were in ,latin3 so perfect was his mind at this time1 that he said to me1 ,what can this mean8 when ,i attempt to speak1 ,i croak like a toad4 ,on ,saturday morning1 at seven o'clock1 he was told that ,mr4 ,cartwright was in the house3 as he knew two gentlemen of that name1 he was uncertain which it was4 ,on ,mr4 ,cartwright approaching his bedside1 he put out his hand1 and exclaimed1 ,is it you1 ,samuel8 ,this gentleman raised him in his bed1 and moistened his mouth and lips with liquid1 by means of a feather1 for which he feebly thanked him4#fb ,on ,mr4 ,cartwright's arrival in ,london1 he immediately wrote to me1 saying1 he feared ere ,i received his communication that ,fuseli would be no more2 this apprehension of his was shortly afterwards confirmed by a letter from ,lady ,guilford1 informing me that he had breathed his last that morning1 7,saturday1 the #afth of ,april1 #ahbe17 at half-past ten o'clock1 without much apparent pain1 and in complete possession of his faculties2 and that1 in consequence1 my presence1 as an intimate friend and executor1 being immediately required1 both by ,mrs4 ,fuseli and herself1 at ,putney1 she had sent her carriage to enable me to come down without delay4 ,on my arrival at ,putney ,hill1 ,i found the ,countess of ,guilford and the ,ladies ,susan and ,georgina ,north in deep grief4 ,fuseli was highly esteemed by these ladies1 and reciprocally felt towards them the warmest friendship4 ,he entertained for ,lady ,susan great regard2 but he had for ,lady ,georgina1 that affection which a master usually feels towards an amiable1 accomplished1 and highly promising pupil4 ,this young lady had devoted much time to the study of the ,fine ,arts1 and1 assisted by the occasional hints and instructions of ,fuseli1 has arrived at eminence in the highest branch1 that of historical design4 ,after some preliminary observations1 ,lady ,guilford observed1 that she considered it a duty to act upon this melancholy occasion as she was sure her father 7,mr4 ,coutts7 would have acted were he alive2 and she said1 ,as to arrangements1 ,i give you1 ,mr4 ,knowles1 a carte blanche2 but observe1 it is my wish1 as ,mr4 ,fuseli has died here1 that his remains should be so placed as will not disgrace a public funeral2 for ,i feel convinced that the ,royal ,academy will pay that tribute to his memory4 ,her ,ladyship added1 7with her usual feelings of generosity17 but if they fail to do so1 then ,i request you will order such a funeral as is due to the high merits of the deceased2 and any additional expense which may be incurred by my wishes1 ,i will gladly reimburse4 ,remember1 my desire is1 to have every respect shewn to his remains4 ,a few hours after ,i had returned to ,london1 ,lady ,guilford sent me in writing her instructions to the above effect2 and said in her note1 that she was induced to do so1 that her wishes and intentions might not be misunderstood4 ,early on the ,sunday morning1 ,i called upon ,sir ,thomas ,lawrence1 not only as a friend of the deceased1 but in his official capacity as ,president of the ,royal ,academy1 to inform him of ,fuseli's death1 and to ask what he considered would be the notions of the ,members of the ,academy with respect to his funeral4 ,sir ,thomas1 who had been for many years the friend and companion of ,fuseli1 and an admirer of his talents1 met this question with feeling and great candour1 and remarked that1 he knew of no precedent for any public honours being paid to the remains of a ,keeper of the ,royal ,academy4 ,i urged that there could not be a precedent to operate in this case1 for1 on account of the great talents of the deceased1 the ,royal ,academy had rendered an existing law of theirs nugatory1 by allowing him to hold the situation not only of ,keeper1 but also of ,professor of ,painting1 a compliment which had fallen to the lot of no other man1 nor was such an occurrence likely again to take place4 ,sir ,thomas acknowledged that he had strong claims to some distinguished attention being paid to his remains1 and promised1 under this view of the case1 to convene a meeting of the ,council immediately1 to take the matter into consideration4 ,after this interview1 ,i went to ,putney ,hill1 for the purpose of removing the corpse to ,somerset ,house2 and in the evening1 followed the remains of ,fuseli there1 where ,mr4 ,balmanno1 the other executor named in the will1 was ready to receive the body4 ,it was1 at our desire1 placed in a room1 around the walls of which were arranged ,the ,lazar-house1 ,the ,bridging of ,chaos1 and other sublime productions of his pencil1 the subjects being chiefly from ,milton4 ,the ,council of the ,royal ,academy met1 in conformity to the summons of their ,president1 and came to the resolution1--to recommend to the ,academicians1 at their general assembly about to be called for the purpose1 that the ,president1 the ,secretary1 and ,council1 should be desired to attend the funeral of ,mr4 ,fuseli4 ,the feeling1 however1 of many of the ,academicians at this general meeting is said to have been1 that this recommendation was not a sufficient honour to the memory of so distinguished an artist and professor2 for the remembrance of his gibes and his quillets1 which had annoyed many while he lived1 was now sunk in death4 ,but as the ,members did not wish to disturb the resolution of their ,council1 it was confirmed4 ,a curious coincidence took place at this meeting1 with that convened in the year #agib for the purpose of considering how the funeral of ,sir ,joshua ,reynolds should be conducted4 ,i allude to an objection of one member only1 in each case1 to the honours proposed4 ,with respect to the funeral of ,sir ,joshua1 an architect of considerable abilities and great celebrity1 7,sir ,william ,chambers7 considered it a matter of duty to object to the body lying in state1 and a public funeral taking place from ,somerset ,house1 without the sanction of the ,king2 for1 said he1 ,my instructions1 as surveyor of the building1 are1 that the ,academy cannot let or lend any part thereof1 for any other purpose than that for which it is appropriated4 ,this objection1 it is well known1 was referred to and overruled by the ,king4 ,in the case of ,fuseli1 an ,academician1 a portrait painter1 objected both in the council and at the general assembly to any honour being paid by the ,academy1 as a body1 to the remains of ,fuseli4 ,but the observations of this person1 ,i have been credibly informed1 created feelings little short of disgust in many of the ,academicians present4 ,as the funeral was1 by this resolution1 to be considered a private one1 measures were immediately taken by the executors1 to meet the wishes of the relative and a friend of the deceased1 by ordering such preparations to be made at their expense as they considered due to his merits2 and invitations were accordingly sent1 by their desire1 to the ,president1 ,secretary1 and other members of the ,council of the ,academy1 and to several of his private friends1 to attend the solemnity4 ,the funeral of ,fuseli took place on ,monday the #beth of ,april3 it moved from ,somerset ,house at eleven o'clock in the morning1 for ,st4 ,paul's ,cathedral1 in the following order3-- ,pages bearing funeral feathers1 with attendants4 ,four ,porters in silk dresses4 ,,the ,,hearse1 7,drawn by six horses decorated with velvet and feathers7 ,containing the ,body enclosed in a leaden coffin2 the outer wooden one was covered with black velvet1 ornamented with gilt furniture1 and bore the following inscription3 ,,henry ,,fuseli1 ,,esq4 ,a4,m4 ,r4,a4 ,,keeper ,,and ,,professor ,,of ,,painting ,,to ,,the ,,royal ,,academy ,,of ,,london1 ,,died ,,the #af,,th ,,april1 #ahbe1 ,,aged #hf ,,years4#fc ,the hearse was followed by eight mourning coaches drawn each by four horses1 the first with the two ,executors1 ,mr4 ,knowles and ,mr4 ,balmanno4 ,in the others were the ,president1 ,secretary1 ,treasurer1 and ,council of the ,academy1 and the private friends of the deceased1 in the following order3--,sir ,thomas ,lawrence1 ,president2 ,henry ,howard1 ,esq4 ,secretary2 ,robert ,smirke1 ,jun4 ,esq4 ,treasurer4 ,sir ,william ,beechy1 ,r4,a42 ,t4 ,phillips1 ,esq4 ,r4,a42 ,a4 ,chalon1 ,esq4 ,r4,a42 ,william ,mulready1 ,esq4 ,r4,a42 ,g4 ,jones1 ,esq4 ,r4,a42 ,r4,r4 ,reinagle1 ,esq4 ,r4,a42 ,j4 ,wyatville1 ,esq4 ,r4,a4 ,lord ,james ,stuart1 ,m4,p42 ,vice ,admiral ,sir ,graham ,moore1 ,k4,c4,b42 ,the ,hon4 ,colonel ,howard1 ,m4,p42 ,sir ,e4 ,antrobus1 ,bart42 ,the ,very ,reverend ,dr4 ,charles ,symmons2 ,william ,lock2 ,samuel ,cartwright2 ,samuel ,rogers2 ,henry ,rogers2 ,william ,young ,ottley2 ,william ,roscoe1 ,jun42 ,henry ,roscoe2 ,m4 ,haughton2 ,t4 ,g4 ,wainewright1 and ,r4 ,b4 ,haydon1 ,esqrs4 ,the procession was closed by the private carriages of the following persons1 the intimate friends of the deceased4 ,mrs4 ,coutts 7now ,duchess of ,st4 ,alban's71 ,marquis of ,bute1 ,countess of ,guilford2 each drawn by four horses1 with the servants in state liveries4 ,lord ,rivers2 ,lord ,james ,stuart2 ,honorable ,colonel ,howard2 ,sir ,edmond ,antrobus1 ,bart42 ,rear ,admiral ,sir ,graham ,moore2 ,sir ,thomas ,lawrence2 ,dr4 ,symmons2 ,mr4 ,lock2 ,mr4 ,richard ,cartwright2 ,mr4 ,smirke1 and ,mr4 ,wyatville4 ,the body was deposited in a small vault formed for the purpose1 in the crypt of ,st4 ,paul's ,cathedral1 between those which contain the remains of his friends1 ,sir ,joshua ,reynolds and ,opie4 ,on our return to the ,royal ,academy1 the will was opened1 with the contents of which ,i was previously acquainted1 as ,fuseli consulted me when he made it2 and the following is a copy3-- ,i1 ,henry ,fuseli1 ,keeper of the ,royal ,academy1 of ,london1 being in health and of sound mind1 do make this my last will and testament4 ,i do hereby leave and bequeath unto my wife1 ,sophia ,fuseli1 all money and every other description of property that ,i may be possessed of at the time of my decease1 to be for her own and sole use4 ,and ,i do hereby constitute and ,i appoint1 ,john ,knowles of the ,navy ,office1 and ,robert ,balmanno1 of ,mornington ,place1 ,hampstead ,road1 ,esquires1 as ,executors to this my last ,will and ,testament1 revoking all other ,wills and ,testaments4 ,given under my hand and seal1 this twenty-first day of ,november1 in the year of our ,lord ,one thousand eight hundred and twenty-two4 ,henry ,fuseli1 7,l4,s47 ,james ,jones1 ,william ,church1 ,witnesses4 ,in carrying this ,will into execution1 a difference of opinion arose between ,mr4 ,balmanno and myself respecting the propriety of disposing of some of the property by private contract2 and the matter was accordingly referred to ,mrs4 ,fuseli4 ,as this lady gave her assent to the view which ,i had taken of the affair1 ,mr4 ,balmanno1 in consequence1 renounced the trust4 ,the ,will was therefore proved by me1 solely1 in the ,prerogative ,court of ,canterbury1 on the #gth ,september #ahbe4 ,,chapter ,,xiii4 ,fuseli's personal appearance and habits4--,existing ,memorials of him in ,pictures and ,busts4--,his method of dividing his time4--,anecdotes exemplifying his irritability4--,his attainments in classical and in modern ,languages4--,instances of his ,powers of ,memory4--,his intimate knowledge of ,english ,poetry and ,literature4--,his admiration of ,dante4--,his ,passion for ,entomology4--,his opinions of some contemporary ,artists4--,his conversational powers4--,anecdotes4--,his deficient acquaintance with the pure ,physical ,sciences4 ,it may now be proper to give some description of ,fuseli's person and habits4 ,he was rather short in stature1 about five feet two inches in height1 his limbs were well proportioned1 his shoulders broad1 and his chest capacious4 ,his complexion was fair2 his forehead broad2 his eyes were large1 blue1 and peculiarly expressive and penetrating2 his nose large1 and somewhat aquiline2 his mouth was rather wide2 and although his features were not strictly regular1 yet his countenance was1 in the highest degree1 intelligent and energetic2 the expression of his face varied in a remarkable manner with the quick impressions of his mind4 ,he was clean and neat in his person and dress1 and very particular with his hair1 which was carefully dressed every day with powder4 ,in youth1 ,fuseli was exceedingly temperate in all his habits3 until the age of twenty-one years he had never tasted fermented liquors2 and in more advanced age1 his usual beverage was ,port wine1 in a moderate quantity1 or ,port wine mixed with water2 and during the whole of his life he had never even tasted beer4 ,he was habitually an early riser4 ,in ,london1 during the summer months1 he usually left his bed-room between six and seven o'clock2 but when in the country1 he arose between four and five4 ,to these1 and to the practice of standing while he painted1 he attributed the more than usual good state of health which he had enjoyed4 ,he possessed his faculties in an extraordinary degree to the last period of his life3 his fancy was vivid1 his memory unimpaired1 and his eye-sight so good1 that he could read the smallest print without the aid of glasses3 if any one of them had failed1 it was his hearing2 but this1 if impaired at all1 was only so in a slight degree2 and1 in my opinion1 his complaint of this proceeded rather from inattention1 on his part1 to any discourse which did not interest him1 than from a defect in the organ2 for1 when his attention was drawn to a subject1 or excited1 this was in no degree apparent4 ,although ,fuseli had a great dislike to sit for his portrait1 there are the following busts and pictures of him3--,a bust in marble1 chiselled when he was in ,italy2 of the merits of this he always spoke in high terms1 and it is supposed to be now in ,rome4 ,a portrait in profile1 by ,northcote1 taken at ,rome in #aggh1 in the possession of ,james ,carrick ,moore1 ,esq4 ,a drawing by ,sir ,thomas ,lawrence1 in #aghg1 made for the translation of ,lavater's physiognomy4 ,a portrait by ,williamson1 of ,liverpool1 in #aghi1 in the possession of ,william ,roscoe1 ,esq4 ,a picture by ,opie1 in #ahjj1 which ,mrs4 ,fuseli now has4 ,a very characteristic miniature1 by ,haughton1 taken in #ahjh1 in the collection of the ,countess of ,guilford2 and there are two or three subsequent miniatures by the same artist4 ,an elaborate portrait in oil colours1 by ,harlow1 painted in #ahag1 in the possession of the writer of this memoir2 and one less wrought1 by the same artist1 for ,mr4 ,balmanno4 ,a bust in marble1 executed by ,baily1 in #ahbd1 for ,sir ,thomas ,lawrence4 ,a portrait by ,sir ,thomas ,lawrence1 taken in #ahbe1 a few weeks before ,fuseli's death1 is now in the possession of that gentleman's executor4 ,and a bust in clay1 modelled from a cast of the face1 taken after death1 by ,mr4 ,baily1 for the ,countess of ,guilford4 ,notwithstanding some eccentricities1 ,fuseli was a man of method3 his daily occupations1 which were almost unalterable1 will give some notion of this4 ,if the weather were favourable1 he usually walked for an hour or two before breakfast2 if otherwise1 he read some classic author4 ,at breakfast 7which generally occupied an hour71 he was engaged in looking over drawings of entomology1 or in reading some book on that science4 ,after he had breakfasted1 and while under the hands of the hair-dresser1 he read ,homer in ,greek4 ,at half-past ten o'clock he went to his study1 and engaged himself in painting until four2 then dressed1 and walked till the time appointed for dinner4 ,in the evening1 if not in society1 he amused himself in examining prints1 executing drawings1 or reading the popular works of the time4 ,when out of ,london1 the middle of each day was spent either in drawing1 writing1 or reading4 ,from infancy1 ,fuseli possessed very impetuous passions1 which required1 when a boy1 some degree of coercion1 on the part of his parents1 to control4 ,this irritability1 in one instance1 nearly cost him his life4 ,at ,lyons1 when a young man1 he had a dispute with a person1 which aroused his feelings to such a height1 that in a momentary fit of passion he made use of that agility which he possessed in a considerable degree1 and kicked his antagonist in the face4 ,the man coolly drew his sword1 and immediately inflicted a very severe wound upon the offending leg4 ,notwithstanding this violence of disposition1 when his anger was aroused even to a high pitch1 a kind word or look appeased him in a moment4 ,in the several relations of husband1 friend1 and master1 he was most affectionate and kind2 but he required to be sought3 if neglected1 he ceased to think of the objects whom he had before loved or esteemed2 and his constant theme was on such occasions1 ,i can live without them who can do without me4 ,he possessed such a degree of pride and self-love in this particular1 that if he thought himself slighted1 he would resent it1 whatever might be the rank or condition of the man3 this has been witnessed on several occasions1 one of which now recurs to my memory4 ,i accompanied him to a private view of a picture1 ,the ,trial of ,queen ,caroline2 after we had been in the room a few minutes1 he pointed out a clergyman1 and said1 ,that is ,howley1 the ,bishop of ,london2 he and ,i were very intimate4 ,before he became a dignitary of the church1 he used to come to my house frequently1 and sit there for hours together2 but for some years he seems to forget even my person4 ,shortly after1 ,lord ,rivers came into the apartment1 and accosted ,fuseli in his usual jocular manner1 and perhaps not knowing that he had been acquainted with the ,bishop1 took an opportunity of introducing him4 ,fuseli immediately said1 ,i have seen his ,lordship before now1 and turned upon his heel4 ,it has been shewn1 that ,fuseli was educated for the clerical profession1 and as a requisite for this1 he studied the classics in early life1 in order to attain a knowledge of what are called the learned languages3 taste led him to continue this study1 in which he afterwards proved so eminent2 he wrote ,latin and ,greek accurately1 and has often puzzled learned ,professors in their attempts to discover whence the passages were derived1 when he clothed his own original thoughts in classical language4 ,he was not ignorant of ,hebrew2 but in this1 when compared with ,greek and ,latin1 his knowledge was superficial4 ,in modern languages he was deeply skilled2 for he wrote ,french1 ,italian1 ,german1 and ,english1 with equal facility4 ,on one occasion1 when ,i saw him writing a letter in ,french1 ,i made the remark1 ,with what ease1 ,sir1 you appear to write that language6 he answered1 ,i always think in the language in which ,i write1 and it is a matter of indifference to me whether it be in ,english1 ,french1 or ,italian2 ,i know each equally well2 but if ,i wish to express myself with power1 it must be in ,german2--in which he has left several pieces of poetry4 ,for the pleasure of reading ,sepp's work on insects1 he gained1 late in life1 a competent knowledge of ,dutch3 indeed1 he had a peculiar facility of acquiring languages2 for in this particular his capacity was most extraordinary4 ,he has told me1 that1 with his knowledge of general grammar1 and with his memory1 six weeks of arduous study was quite sufficient time to acquire any language with which he was previously unacquainted4 ,this capacity was evidently owing1 in a great degree1 to his quickness of perception1 and to his possessing a most retentive memory2 not of that kind1 however1 that easily commits to it particular passages for viv voce repetition1 and are lost as soon as the object for which they were gotten is passed by2 on the contrary1 what he once attained was seldom or never forgotten4 ,it was a recollection of words as well as things3 one or two examples of this will suffice4 ,his friend ,bonnycastle also possessed great powers of memory1 and he1 at ,mr4 ,johnson's table1 challenged ,fuseli to compete with him3 this was immediately accepted4 ,the best mode of trial was submitted to ,johnson1 who proposed that each should endeavour to learn by heart1 in the shortest time1 that part of the eleventh book of ,paradise ,lost which describes a vision shewn to ,adam by ,michael4 ,fuseli read this description of the cities of the earth1 which is long1 and1 from the words having little apparent connexion1 difficult to be remembered1 only three times over1 and he then repeated it without an omission or error4 ,bonnycastle immediately acknowledged himself to be vanquished4 ,when ,the ,pursuits of ,literature were published1 the public were anxious to discover the author1 and a friend said to ,fuseli1 ,you ought to know who it is1 because he quotes you as authority for one or two of his remarks1 and mentioned the passages4 ,fuseli instantly answered1 ,it must be ,mathias2 for ,i recollect that particular conversation2 and stated the time1 the place1 and the occasion which drew it forth1 although many years had elapsed4 ,fuseli's acquaintance with ,english poetry and literature was very extensive2 few men recollected more of the text1 or understood better the works of ,chaucer1 ,spenser1 ,shakspeare1 ,milton1 and ,dryden4 ,in ,shakspeare and ,milton he was deeply read1 and he had gained some knowledge of the merits of the former in early life from the translations into ,german of some of the plays of ,shakspeare1 by his tutor ,bodmer1 who was well read in ,english poetry1 and who subsequently gave a translated ,paradise ,lost4 ,notwithstanding the predilection which ,fuseli had for the ancients1 particularly ,homer1 yet he considered the three first acts of ,hamlet1 and the second book of ,paradise ,lost1 to be the highest flights of human genius4 ,indeed1 he had a decided preference for poetry and works of imagination4 ,england1 he once said1 has produced only three genuine poets1 ,shakspeare1 ,milton1 and ,dryden4 ,a friend asked1 ,what do you say of ,pope8--,ay1 ay1 he interrupted1 with ,broome1 ,cawthorne1 ,yalden1 ,churchill1 ,dyer1 ,sprat1 and a long list of contemptibles4 ,these are favourites1 ,i know1 and they may be poets to you2 but1 by ,heaven1 they are none to me4 ,another gentleman who was present1 maintained the genius of ,pope1 and thought the ,dunciad his best production4 ,fuseli denied this1 and added1 ,pope never shewed poetic genius but once1 and that1 in the ',rape of the ,lock4'--,a poet is an inventor2 and what has ,pope invented1 except the ,sylphs8 ,in the ,dunciad1 he flings dirt in your face every minute4 ,such a performance may be as witty as you please1 but can never be esteemed a first-rate poem4--,he then called his ,eloisa to ,abelard1 hot ice4 ,for ,gray1 however1 he had a high admiration2 and when his opinion was asked by one who imagined that he held him cheap1 he said1 ,how6 do you think ,i condemn myself so much as not to admire ,gray8 ,although he has written but little1 that little is done well4 ,when ,addison was mentioned1 he exclaimed1 ,addison translated the fourth ,georgic of ,virgil1 except the story of ,aristus2 you may thence know what his taste was4 ,how can you ask me about a man who could translate that ,georgic1 and omit the most beautiful part8 ,of the more modern poets1 ,lord ,byron was his favourite2 and he always read his writings as soon as they were published1 with great avidity4 ,when pressed to read the works of those writers in verse who are admired merely for the beauty of language and smoothness of versification1 he exclaimed1 ,i cannot find time1 for ,i do not yet know every word in ,shakspeare and ,milton4 ,he was well versed also in the works of foreign poets2 but of these1 ,dante was his favourite1 for his imagery made the deepest impression on his mind1 and afforded many subjects for his daring pencil4 ,there was but one instance1 he said1 in which ,dante betrayed a failure in moral feeling4 ,it is when ,frate ,alberigo1 lying in misery in ,antenora1 implores him to remove the ice from his face4 ,dante promises to do so1 on this condition--that the sinner shall first inform him who he is1 and for what crime he is punished4 ,but after ,alberigo has fulfilled the conditions1 the poet refuses to render him the service he had promised4 ,that is bad1 you know2 faith should be kept1 even with a poor devil in ,antenora4 ,after a pause1 he burst out with ,dante's description of the ,hypocrite's ,punishment-- ,o in eterno faticoso manto6 ,how well this is6 ,i feel the weight1 though ,i'm no hypocrite4 ,he did not accord with the feelings of ,rousseau1 in an epithet bestowed on ,metastasio1 ,le bouillant ,metastasio6--,i do not know where he discovered this fire2 ,i am sure ,metastasio never burnt my fingers1 yet he is sometimes beautiful4 ,fuseli continued1 ,i tuoi strali terror de' mortali1 c4 7the ,coro in the ,olimpiade47 ,these are grand lines4 ,his knowledge of history and its attendant chronology1 was accurate and extensive1 and few men understood and remembered better the heathen mythology1 and ancient and modern geography4 ,he was not ignorant of natural history2 but that branch which was cultivated by him with the greatest ardour1 was entomology1 in which he was deeply informed1 particularly in the classes lepidoptera and coleoptera1 but in the former he took the greatest delight2 and in acquiring a knowledge of the habits of insects1 he was naturally led into the consideration of their food2 hence he was not unlearned in botany4 ,by skill and care1 he sometimes reared in his house some of the rarer ,english insects1 among them1 the ,sphinx atropos1 ,sphinx uphorbi1 and others4 ,his great love for entomology induced him occasionally to introduce moths into his pictures1 which he painted with great care and fidelity1 and when much taken with the subject1 he made them frequently incongruous4 ,thus1 in a picture of ,lycidas1 from the passage in ,milton1 ,under the opening eye-lids of the morn1 ,what time the grey-fly winds his sultry horn1 which is in the possession of ,james ,carrick ,moore1 ,esq41 where the shepherd and shepherdess1 7exercising the licence of a painter1 he has introduced the latter17 are only ten inches in length1 happening to find in ,mr4 ,johnson's garden at ,fulham1 a beautiful moth1 he was so delighted with the insect1 that in spite of all propriety and his better knowledge1 he painted it the size of nature1 hovering above the figures1 with expanded wings4 ,this singular appearance in the picture attracted the notice of the celebrated ,dr4 ,jenner1 who was skilled also in entomology2 and being invited to dinner to meet ,fuseli1 he consequently enquired the subject4 ,mr4 ,moore informed him1 that it was from ,milton's ,lycidas1 and from the line1 ,what time the grey-fly winds his sultry horn4 ,no1 no1 replied the ,doctor1 this is no greyfly1 but a moth1 and winds no horn2 it is a mute4 ,fuseli1 who heard this remark1 knew well its accuracy1 and therefore said nothing2 and the respect which he had already entertained for ,dr4 ,jenner1 in consequence of his well-known discovery1 which has been so useful to mankind1 was heightened1 by finding that he possessed also a knowledge of his favourite study2 and each was amused during the evening by the other's singularities4 ,it must be acknowledged that ,fuseli was fully sensible of his various acquirements1 and never underrated his own powers2 although apt to undervalue those of others1 particularly of some of his brother artists1 and also to speak of them slightingly1 because they were unacquainted with literature and even deficient in orthography3 after talking with them1 he has said1 ,i feel humbled1 as if ,i were one of them4 ,mrs4 ,wollstonecraft was alive to this weakness in ,fuseli's character1 and on one occasion emphatically exclaimed1 ,i hate to see that reptile ,vanity sliming over the noble qualities of your heart4 ,this feeling with regard to several of the artists1--for he esteemed the acquirements of others1--was not given in reference to their powers as painters1 for he had a high opinion of the ,english school of art in some of its branches4 ,of ,sir ,thomas ,lawrence he has said to me1 ,the portraits of ,lawrence are as well if not better drawn1 and his women in a finer taste1 than the best of ,vandyck's2 and he is so far above the competition of any painter in this way in ,europe1 that he should put over his study1 to deter others1 who practise this art1 from entering1 ',lasciate ogni speranza voi ch' entrate4' ,of ,turner1 he has observed1 he is the only landscape-painter of genius in ,europe4 ,wilkie1 he considered to have most of the qualities of the best painters of the ,dutch school1 with much more of feeling and truth2 and that some of the fanciful pictures of ,howard have poetic feeling with fine colouring4 ,fuseli seldom or never concealed his sentiment with regard to men1 even to their faces4 ,calling upon him one evening1 ,i found ,mr4 ,marchant and ,mr4 ,nollekens in his room3 although ,i was well-known to these gentlemen1 he formally took me up to them1 and said1 ,this1 ,mr4 ,knowles1 is ,mr4 ,marchant1 that1 ,mr4 ,nollekens1 two of the cleverest artists in their way1 ,i believe1 in ,europe1 but in every thing else1 two old daddies4 ,every one knows1 who is acquainted with art1 the powers which ,northcote displays when he paints animals of the brute creation4 ,when his picture of ,balaam and the ,ass was exhibited at the ,macklin ,gallery1 ,northcote asked ,fuseli's opinion of its merits1 who instantly said1 ,my friend1 you are an ,angel at an ass1 but an ass at an ,angel4 ,the conversational powers of ,fuseli were extraordinarily great1 and it was his constant aim to shine in company4 ,he was1 however1 very averse to protracted discussions1 and for a short period would sometimes take the weaker side of the argument1 in order to shew his powers2 but if he then found his antagonist too strong for him1 he often resorted to some witty retort1 and dropped the conversation4 ,in society he could not bear a rival2 and was dissatisfied if he were prevented from taking a part in the conversation4 ,shortly after ,mrs4 ,godwin's marriage1 she invited him to dinner to meet ,horne ,tooke1 ,curran1 ,grattan1 and two or three other men of that stamp2 he had no objection to their political opinions1 but as they engrossed the whole conversation1 and that chiefly on politics1 he suddenly retired from their company1 and1 joining ,mrs4 ,godwin in the drawing-room1 petulantly said to her1 ,i wonder you invited me to meet such wretched company4 ,his sentiments in society were delivered with an extraordinary rapidity2 his language was nervous1 and his words well chosen4 ,he possessed much wit1 sometimes of the playful but more frequently of the caustic kind2 and his ideas were often uncommon1 and generally amusing1 which being poured forth with an enunciation and energy peculiar to himself1 very much increased their effect4 ,fuseli was quite aware that he expressed himself sometimes too acrimoniously1 and1 after due consideration1 he frequently regretted it4 ,in a letter to his friend ,roscoe1 he thus expresses himself3-- ,it was not necessary that ,i should be informed by our mutual friend1 that your affection for me continues unabated1 although1 perhaps1 you were a little startled by the ferocity of my conversation during your last visit in town4 ,affection built on the base which ,i flatter myself ours is founded on1 cannot be brushed away by the roughness or petulance of a few unguarded words4 ,again1 to ,mr4 ,ottley1 he writes3-- ,,my ,,dear ,,ottley1 ,my wife tells me ,i behaved ill to you last night1 and insists upon my making an apology for it3 as ,i suspect she may be right1 accept my thanks for your forbearance and good-humour1 and grant me the benefit of ,hamlet's excuse for his rashness to ,laertes4 ,let us see you as soon as possible again4 ,respects to ,mrs4 ,ottley4 ,ever yours1 ,henry ,fuseli4 ,tuesday1 ,july #bgth1 #ahac4 ,some anecdotes1 in addition to those already given1 will illustrate better the nature and force of his conversational talents1 than any farther description4 ,discoursing one day with a gentleman at ,mr4 ,johnson's table upon the powers and merit of ,phocion2 a stranger1 who had apparently listened with attention to the conversation1 interrupted him by putting this question1 ,pray1 ,sir1 who was ,mr4 ,phocion8 ,fuseli immediately answered1 ,from your dialect1 ,sir1 ,i presume you are from ,yorkshire2 and if so1 ,i wonder you do not recollect ,mr4 ,phocion's name1 as he was ,member for your ,county in the ,long ,parliament2 and he then resumed the discourse4 ,bonnycastle and another mathematician were conversing upon the infinite extension of space1 a subject in which ,fuseli could take no part1 so as to shew his powers3 he instantly cut it short1 by asking1 ,pray1 ,gentlemen1 can either of you tell me how much broad cloth it will take to make ,orion a pair of breeches8 ,calling one morning upon ,mr4 ,johnson1 he found him engaged in bargaining with an author for the copyright of a book2 after a time1 the gentleman took leave2 when he was gone1 ,mr4 ,johnson said1 ,that is ,mr4 ,kett1 and his work is to be called the ',elements of ,useful ,knowledge4' ,in how many volumes8 said ,fuseli4 ,in two octavos1 was the answer4 ,no1 no1 ,johnson1 said he1 you cannot be serious2 the ,ocean is not to be emptied with a tea-spoon4 ,meeting with a gentleman in society1 who piqued himself upon his knowledge of poetry1 and boasted of being thoroughly versed in ,shakspeare1 he exclaimed1 in a sonorous tone1 ,o1 for a ,muse of fire1 that would ascend ,the brightest ,heaven of invention6 ,pray1 ,sir1 do you happen to recollect where these lines are to be found8 ,he took some time to consider1 and then answered1 ,somewhere in ,pope4--,i find you are well read in the ,poets1 said ,fuseli4-- ,discoursing with a lady upon sculpture1 who1 however1 was too well read in the classics to be a subject of his mischievous pleasantry1 he pretended to inform her of a fine bas-relief which had been received by the ,royal ,academy from ,rome4 ,what is the subject8 sheasked4-- ,hector and ,andromache1 said he1 dashing out against a wall1 the little ,astyanax's brains4 ,poh6 why do you tell me such stuff8 said she4 ,ay6 you may laugh1 replied ,fuseli1 but it would go down with many a one4 ,i have often said such things in company without detection2 only try it yourself at the next lord's house you may visit1 and see how many fine ladies and dandies will detect you4 ,his powers in conversation were usually greater than those displayed in his writings1 for in the latter he was always hesitating1 and generally aiming at terseness1 to convey his meaning in the fewest possible words2 hence he was sometimes ambiguous1 and often obscure4 ,i ventured once to hint this to him1 and he answered1 ,i endeavour to put as much information into a page1 as some authors scatter through a chapter2 and you know1 'that words are the daughters of earth1 and things1 the sons of heaven2' and by this sentiment ,i am guided4 ,little can now be gathered1 after such a lapse of years1 of his oratorical powers in the pulpit4 ,but his friend ,lavater says1 ,nature designed him for a great orator3 we must then bow to the authority of a man of his eminence1 who had frequently heard ,fuseli preach4 ,he1 however1 delivered the powerful language in which his lectures are written in a strong voice1 with proper emphasis1 and with precision4 ,their effect1 however1 was in some degree lost to those who were not accustomed to his ,german pronunciation4 ,his want of taste for mathematics and the pure physical sciences1 and consequent ignorance of them1 has been noticed1 and this led him into some incongruities in his paintings4 ,in a picture of ,lycidas1 which he was executing for ,mr4 ,carrick ,moore1 he introduced the sun just rising above the horizon1 with a full moon1 not in opposition to the sun1 but upon the same side4 ,mr4 ,moore attempted to convince ,fuseli that the moon never appeared full but when she was diametrically opposite to the sun3 but failing in this1 he advised him to consult his friend ,bonnycastle1 the ,astronomer1 upon the point4 ,some time after1 ,mr4 ,moore saw the picture again1 and found that the full moon was changed to a crescent4--,ho6 ho6 said he1 so1 ,bonnycastle has convinced you of your error8 ,no such thing1 answered ,fuseli4 ,he did not say the full moon was wrong2 but1 as she appears inclined to her quadrature1 that it was as well to paint her so2 and ,i have done it4 ,,chapter ,,xiv4 ,fuseli's inherent shyness of disposition4--,his opinions of various noted individuals1 viz4 ,dr4 ,johnson1 ,sterne1 ,sir ,joshua ,reynolds1 ,gibbon1 ,horne ,tooke1 and ,thomas ,paine4--,his cultivation of ,english notions and habits4--,his attachment to civil and religious liberty4--,his intimacy with theatrical matters4--,his adventure at a ,masquerade4--,his powers as a ,critic1 both in ,literature and ,art1 with various illustrative examples4--,his impressions of ,religion4--,one of his ,letters on ,literature4 ,the professional excellence1 ready wit1 great learning and acquirements in the classics and general literature1 which ,fuseli possessed1 made his society coveted2 and he might have associated with men of the highest rank and greatest talents of his time4 ,but from childhood1 he was of a very shy disposition1 and not apt to make new acquaintances4 ,when a boy1 if a stranger happened to visit at his father's house1 he would run away and hide himself2 and with a similar feeling1 through life1 he contented himself with the association and attentions of old and tried friends1 without attempting to make new acquaintances2 and has often refused a pleasant dinner-party to meet some known friends1 if he understood that one or two strangers were invited to be of the party4 ,this shyness gave to many the notion that he was a man of morose disposition1 of severity of conduct1 and of uncouth manners4 ,but they who enjoyed his friendship1 witnessed his domestic habits and happiness1 and thus had opportunities of forming an accurate opinion of the good qualities of his heart and mind1 know well the erroneousness of these opinions4 ,fuseli would often be very amusing by giving anecdotes1 and sometimes his opinion1 of the merits of several of the literary characters whom he had met in company1 or with whom he had associated4 ,a few of his remarks1 in addition to those already given1 recur to memory4 ,of ,dr4 ,johnson1 whom he sometimes saw at ,sir ,joshua ,reynolds' table1 he said1 ,johnson had to a physiognomist a good face1 but he was singular in all his movements2 he was not so uncouth in appearance and manners as has been represented by some2 he sat at table in a large bushy wig and brown coat1 and behaved decently enough4 ,on one occasion1 the conversation turned upon ghosts and witches1 in the existence of which he believed1 and his only argument was1 that great and good men in all times had believed in them4 ,my fingers itched to be at him1 but ,i knew1 if ,i got the better of the argument1 that his celebrity was so great1 it would not be credited4--,you know1 he continued1 that ,i hate superstition4 ,when ,i was in ,switzerland1 speaking with ,lavater upon the appearance of the spirit after death1 it was agreed between us1 that if it were allowed by the ,deity to visit earth1 the first who died should appear to the other2 my friend was the most scrupulous man in existence1 with regard to his word2 he is dead1 and ,i have not seen him4--,of ,sterne he said1 that he was a good man1 knew what was right1 and had excellent qualities1 but was weak in practice4 ,when ,i was invited to meet him at ,johnson's1 ,i expected to hear from the author of ',the ,sentimental ,journey1' 7which ,i esteem the most original of books17 either wit1 or pathos1 or both2 when ,i saw him1 he was certainly nearly worn out1 and ,i was miserably disappointed1 as nothing then seemed to please him but talking obscenely4--,the description which he gave of ,sir ,joshua ,reynolds was1 that he had an insignificant face1 but he possessed quickness of apprehension2 he was no scholar1 and a bad speaker4 ,in his art1 he took infinite pains at first to finish his work2 but afterwards1 when he had acquired a greater readiness of hand1 he dashed on with his brush4 ,there is a degree of arrogance1 said he1 in ,sir ,joshua's portraits1 for all his boys are men1 his girls women4 ,sir ,joshua1 unassisted with a sitter1 had no idea of a face2 he copied nature1 and yet there is a perfect degree of originality in his paintings2 he had the affectation to deny genius4 ,of ,gibbon he remarked1 that he had a good forehead1 but a measured way of studying whatever he said4 ,of ,horne ,tooke1--,tooke is undoubtedly a man of talents2 but he is the greatest chatterer ,i ever sat down with2 one cannot1 in his company1 put in a word edgewise2 he1 however1 wishes to be thought a good ,german scholar1 but in this he is very superficial4 ,he sometimes met ,thomas ,paine in society1 and has remarked to me1 that he was far from being energetic in company2 to appreciate his powers1 you must read his works1 and form your opinion from them1 and not from his conversation4 ,paine knew less of the common concerns of life than ,i do1 who know little2 for when he has had occasion to remove from lodgings1 he hardly knew how to procure or make an agreement for others1 and our friend ,johnson#fd latterly managed these concerns for him4 ,when the popular cry was much against ,paine1 it was thought prudent by his friends1 that he should remove from his apartments2 and others were taken for him by ,johnson1 about four miles distant from those which he inhabited4 ,they went there in a hackney-coach1 for such a vehicle could contain them1 with all the moveables which ,paine possessed4 ,on their arrival at the new abode1 ,paine discovered that half a bottle of brandy was left behind2 now brandy being an important thing to ,paine1 he urged ,johnson to drive back to fetch it4 ',no1 ,mr4 ,paine1' said he1 'it would not be right to spend eight shillings in coach-hire1 to regain one shilling's-worth of brandy4' ,paine was an excellent mechanic2 when ,sharpe was about to engrave my picture of ',the ,contest of ,satan1 ,sin1 and ,death1' he employed a carpenter to construct a roller to raise or fall it at pleasure2 in this1 after several ineffectual attempts1 he did not succeed to the expectations of ,sharpe1 who mentioned the circumstance in the hearing of ,paine2 he instantly offered his services1 and set to work upon it1 and soon accomplished all1 and indeed more than the engraver had anticipated4 ,in his notions and habits1 ,fuseli was completely an ,englishman2 and although1 when he spoke1 no one could take him for such1 yet he disliked to be thought a foreigner2 and he has sometimes said to me1 ,when ,i speak in any of the established languages of ,europe1 ,i am every where considered a foreigner1 even when ,i discourse in ,german1 our language at ,zurich being a ,patois2 but ,i can assure you that this is nervous1 and not without its beauties4 ,no man was a greater stickler for civil and religious liberty than ,fuseli1 and no man had a deeper horror of the slave trade1 or a greater dislike to impressing seamen4 ,paying a visit to his friend ,roscoe1 at ,liverpool1 in the year #ahjd1 this gentleman pointed out to him all the improvements which had been made in the town since he was there last1 which was within a few years4 ,he observed1 ,i do not wonder that you look upon these with some degree of self-complacency2 for they may be considered as the work of your hands1 and as such ,i view them with interest2 but methinks ,i every where smell the blood of slaves4#fe ,fuseli esteemed the ,english character more highly than that of any other country1 and was much pleased with their amusements4 ,the theatre was a constant source of gratification1 and his criticisms on plays and players were usually severe1 but generally acute and just4 ,meeting ,macklin at ,johnson's table1 he shewed such deep knowledge in the art in which that celebrated man was so successful1 not only as a writer1 but as an actor1 that when ,fuseli took his leave1 ,macklin exclaimed1 ,i could sit all night to discourse with that learned ,theban4 ,of ,miss ,o',neill he always spoke favourably1 and considered that her merits as an actress1 however highly they were esteemed1 had been undervalued rather than overrated4 ,of ,mr4 ,betty1 in #ahbb1 he said1 ,if his face1 on the whole1 do not sanction a prophecy of unrivalled excellence1 it does not exclude him from attaining eminence4 ,mrs4 ,pritchard was the allowed ,lady ,macbeth of her day1 without one tragic feature1 or one elegant limb4 ,it is indeed a little provoking1 that he who in ,dublin inthralled the general female eye1 when his golden locks inundated his neck1--he whose kerchief the ladies at ,bath of late cut out into a thousand amulets of love1 should be less than the theatric sun of ,london2--but still ',principibus placuisse ,feminis ,non ultima laus est4'-- ,if ,i have murdered ,horace's verse1 ,i have improved the sense4 ,as to former actors1 the pupils of ,betterton and ,booth would probably have turned up their noses at ,barry and ,garrick--',but to praise the past1' has always been a characteristic of age4 ,he was an admirer of ,kean in some characters which he played1 particularly in his ,shylock4 ,but he considered that this actor took too wide a range4 ,in writing to a friend1 he says1 ,i have seen ,kean and ,mrs4 ,west in ,orestes and ,hermione1 and desire to see them no more4 ,what could excite the public rapture at his first appearance in this part1 ,i am at a loss to guess3 if his figure is not absolutely irreconcileable with the character1 his action and expression are balanced between the declamation of ,talma1 the ravings of a bedlamite1 and sometimes the barking of a dog4 ,mrs4 ,west is something of a slender ,grecian figure1 tall1 not ungraceful1 and a face something like ,mrs4 ,madyn's3 she was well dressed1 and has a good voice1 but no rule of it1 and tore her part to tatters in one uninterrupted fit of raving4 ,in the ,italian opera1 and in operas in general1 he did not take much delight2 for in music his ear was certainly imperfect2 but notwithstanding this1 some few simple airs affected him strongly4 ,in speaking of music1 he said1 ,all your complicated harmonies of ,haydn and ,beethoven are fine1 ,i know2 because they are esteemed to be so by the best judges2 but ,i am ignorant1 and they say nothing to me4 ,they give to me no more pleasure than a fine anatomical foreshortened drawing by ,michael ,angelo would to an unpractised eye4 ,but the song1 ',how imperfect is expression1' is the key to my heart4 ,how could a ,frenchman write it8 ,lady ,guilford once sang it to me so exquisitely1 that ,i only wished to hear it over and over again1 and to die when it ceased4 ,he always held an opinion1 that the ,english and ,french1 as nations1 possessed no genius or taste for music1 and that their apparent attachment to this science was assumed1 and not natural4 ,of masquerades1 he considered that ,englishmen neither possess the animal spirits nor quickness of repartee requisite for this amusement1 but are apt to drop the fictitious character they assume1 and take up their real one4 ,he instanced this by the following anecdote3--,at the request of young ,lavater1 when he was in ,england1 ,i went to a masquerade at the ,opera ,house3 we were accompanied by my wife1 ,mrs4 ,wollstonecraft1 and some others1 and were endeavouring to be amused by the masks1 when a devil came howling about us1 and tormented some of the party to such a degree1 that ,i exclaimed in a loud voice1 ',go to hell6' but the dull devil1 instead of answering in character1 ',then ,i will drag you down with me1' or making some bitter retort1 put himself into a real passion1 and began to abuse me roundly4 ,so ,i1 to avoid him1 retired from the place1 and left the others of the party to battle it out4 ,as a critic1 ,fuseli's powers can be best estimated by his writings4 ,in art--his ,lectures1 ,notes to ,pilkington's ,dictionary1 his ,aphorisms1 and ,the ,fragment of a ,history of ,art1 may be instanced4 ,in the classics--but more particularly in ,greek1--by the written opinions of ,cowper1 and the oral testimony given in society1 by ,porson1 ,parr1 ,burney1 ,symmons1 and others4 ,in consequence of his extensive knowledge in the dead languages1 the situation of ,professor of ,ancient ,literature to the ,royal ,academy became nearly a sinecure1 as he afforded information upon all classical subjects1 and furnished the mottoes for the annual catalogues of the exhibition1 which were usually in ,greek1 but sometimes in ,latin4 ,he1 however1 kept up the most friendly intercourse with the ,professor of the time1 and frequently corresponded with him1 particularly so with ,dr4 ,charles ,burney1 upon disputed points or doubtful passages4 ,i am favoured by ,dr4 ,charles ,parr ,burney with the following letter1 which ,fuseli wrote to his father3-- ,somerset ,house1 ,july #g1 #ahje4 ,,my ,,dear ,,sir1 ,you have so often answered my questions1 whether pertinent or idle1 that ,i hope you will do the same now4 ,at what period of ,greek literature did the word ,rheethron1 'fluentum1' change its gender1 and from a neuter become a masculine8 ,in ,homer1 ,i believe1 it is uniformly neuter1 kala1 erateina rheethra3 what then do you say to the following metamorphosis8 ,par keladonta rheethron ho melanchlainos anr1 c48 page #bej1 of an ,analytical ,inquiry into the ,principles of ,taste1 by ,richard ,payne1 ,knight2 which is so much the more puzzling1 as in a preceding page1 #add1 he seems to allow1 or to know that it is neuter1 by talking of agraphikon ,rheethron8 ,i am afraid the ,rheethra of the ,scamander were not the only ones to boil an eel in4 ,i am1 with great sincerity1 ,my dear ,sir1 ,devoutly yours1 ,henry ,fuseli4 ,fuseli corrected many editions of ,clarke's ,homer1 for the use of students1 as they passed through the press1 and gave some notes in ,latin1 to which the initial letter ,f4 is affixed4 ,an instance may be offered1 not only of his knowledge of this language1 but of his power in recalling words to his recollection4 ,in a ,greek ,lexicon which he had1 several leaves were wanting1 and as an exercise to his memory1 he endeavoured to supply these in his own hand-writing1 without reference to another work4 ,in general literature1 his critical knowledge may be estimated by the numerous articles which he wrote for the ,analytical ,review1 which are easily to be distinguished by the peculiarity of their style2 and they generally have the initials ,z4 ,z4 affixed2 but if it be necessary to point out any in particular1 for the guidance of the reader1 the reviews which have been inserted1 page #ha1 of ,cowper's ,homer1 and ,roscoe's ,lorenzo de' ,medici1 may be instanced4 ,he was not less powerful in viv voce criticisms than in his written ones2 one or two instances of this1 with regard to works of art1 will suffice4 ,in ,northcote's picture of ,hubert and ,arthur1 painted for the ,shakspeare ,gallery1 ,hubert is represented with one hand on his brow1 undetermined1 and apparently melted with the touching supplications of ,arthur1 who1 kneeling at his feet1 is shewn clasping his knees4 ,fuseli on seeing this picture1 said1 ,he has taken the wrong moment1 for whoever looks at that hesitating ,hubert must see that the boy is safe1 the danger past1 and the interest gone4 ,he should have chosen the moment when ,hubert stamps with his foot1 and cries1 ',come forth2 do as ,i bid you2' and two ruffians should have appeared rushing in with red-hot irons2 then the scene would have been such as it ought to be1--terrible4 ,condemning in general terms a large historical picture1 which a person at table had admired2 he was asked for some specific fault3 ,why1 said he1 the fellow has crammed into his canvass fifteen figures1 besides a horse1 and1 by ,g--d6 he has given only three legs among them4 ,why1 where has he hidden the others8 was asked4 ,how should ,i know8 he answered1 ,i did not paint the picture2 but ,i wonder how any one can talk of a painter and praise him1 who has given fifteen men and a horse only three legs4 ,shortly after the first exhibition of the works of ,sir ,joshua ,reynolds1 at the ,british ,institution1 he wrote the following criticisms1#ff among others1 upon his pictures of ,ugolino1 of ,dido1 and the ,infant ,hercules1 which may probably be perused with interest1 as they have not appeared in print4 ,,ugolino4 ,daimoni' out' ar ti megalizomai oud' atheriz ,oude lin agamai mala d' eu oid' hoios estha4#fg ,od4 p4 #bc4 #agd4 ,from whatever cause this face became that of ,ugolino1--whether its original were that of a noble or a pauper1 it is a standard of grief2--but1 more habitual than sudden1 the grief of one whom sharp misery had long worn to the bones1--not of him whom fortune's quick reverse dashed headlong on to despair4 ,the manner in which he is grouped with his infant son1 as it increases the contrast1 adds to our sympathy1--which is however obtained not only at the expense of the story1 but of nature4 ,the whole family were shut up together in the cage2 and when the vigorous partners of the father in arms writhe in the agonies of hunger1 or1 unable to support themselves1 droop in languor1 is it natural to see a blooming stripling1 unaffected by either1 at his ease console the petrified father8 ,,the ,,dido4 ,this is one of the few historic compositions any where1 and perhaps a solitary one in this collection1 of which the principal figure is the best and occupies the most conspicuous place4 ,riveted to supreme beauty in the jaws of death1 we pay little attention to the subordinate parts1 and scorn1 when recovered from sympathy and anguish1 to expatiate in cold criticisms on their unfitness or impotence4 ,he who could conceive this ,dido1 could not be at a loss for a better ,anna1 had he had a wish1 or given himself time to consult his own heart1 rather than to adopt a precedent of clamorous grief from ,daniel di ,volterra4 ,that ,iris was admitted at all1 without adequate room to display her1 as the arbitress of the moment1 may be regretted2 for if she could not be contrived to add sublimity to pathos1 she could be no more than what she actually became1 a tool of mean conception4 ,the writer of these observations has seen the progress of this work1--if not daily1 weekly1--and knows the throes which it cost its author before it emerged into the beauty1 assumed the shape1 or was divided into the powerful masses of chiar' oscuro which strike us now2 of colour it never had1 nor wants1 more than what it possesses now1--a negative share4 ----',non rem ,colori ,sed colorem ,rei submittere ausus4' ,the painter has proved the success of a great principle1 less understood than pertinaciously opposed4 ,,the ,,infant ,,hercules4 ,no eminent work of art that we are acquainted with ever proved with more irresistible evidence1 the truth of ,hesiod's axiom1 that the half excels the whole1 than the infant ,demigod before us2 whose tremendous superiority of conception and style not only scorns all alliance with the motley mob of whom the painter condemned him to make a part1 but cannot1 with any degree of justice1 be degraded into a comparison with any figure which has reached us1 of an ,infant ,hercules on ancient or modern monuments of art4 ,whatever homage conjecture may pay to the powers of ,xeuxis1 whose ,jupiter ,enthroned1 and ,infant ,hercules1 tradition joins as works of equal magnificence1 it will be difficult for fancy to seek an image of loftier or more appropriate conception than that of the heroic child before us1 whose magnitude of form1 irresistibility of grasp1 indignant disdain1 and sportive ease of action1 equally retain his divine origin1 and disclose the germ of the future power destined to clear society and rid the earth of monsters4 ,this infant1 like the infants of ,michael ,angelo1 and of what we possess of the ancients1 teems with the man1 but without that sacrifice of puerility observable in them4 ,modern art has allotted the province of children to ,fiammingo2 it seems to belong1 with a less disputable title1 to ,reynolds1 who inspired the pulpy cheeks and milky limbs of the ,fleming with the manners1 7,,th7 habits1 and the mind of infancy1 when first emerging form1 instinct to will1 sprouts to puerility1 displays the dawn of character1 and the varied symptoms of imitation2 but above all1 that unpremeditated grace1 the innate gift and privilege of childhood1 in countenance1 attitude1 and action4 ,notwithstanding his great acquirements in the classics1 acuteness of mind1 and knowledge of some of the branches of natural philosophy1 ,fuseli neither solicited nor was offered any literary or other honours 7except those of the ,royal ,academy7 in this country4 ,expressing one day my surprise at this1 he answered1 ,what are such things worth8 for ,i have known men on whom the honorary degree of ,doctor of ,laws has been conferred by the ,university of ,oxford1 which prides itself for classical knowledge1 who cannot read correctly a line in the classics2 and you know those who are ,fellows of the ,royal ,society1 who do not possess a philosophical knowledge even of the material on which they work4 ,fuseli was seldom induced to speak on religion2 but1 as he attached himself to no particular form or sect1 which is frequently the case with foreigners1 it would be difficult to give a precise idea of his tenets4 ,in religion1 however1 as well as on all other concerns1 he thought for himself1 unshackled by those restraints which forms1 ceremonies1 or opinions1 often impose on the mind4 ,no man that ,i have ever conversed with had a higher or more sublime notion of the attributes and benevolence of the ,deity1 and no one a better knowledge of the ,bible4 ,in this book he was deeply read1 and recollected1 when in conversation1 not only those parts which1 for historical facts1 sublimity1 pathos1 or poetic beauty1 are impressed on most minds1 but also the minor circumstances1 for he could from memory trace the several tribes1 and tell you accurately the genealogy of any particular person4 ,he seldom took up the ,bible1 which he frequently did1 without shedding tears4 ,one evening1 when talking in a serious mood to a young lady1 he related to her1 in his own peculiar and forcible manner1 the story of ,joseph and his ,brethren1 and with the greatest pathos2 and at that part where ,joseph falls on ,benjamin's neck and wept1 he burst out1 while tears trembled in his eyes1 ,how finely that is expressed1 there are beautiful things in that book6 ,it's an exquisite book6 ,he had a perfect reliance on a future state of existence4 ,if ,i had not hope in this1 he said1 ,i should hang myself1 for ,i have lived and still live for nothing4 ,i am certain ,i shall exist hereafter1 for ,i feel that ,i have had powers given to me by the ,deity1 which time has not allowed me to exert or even to develope4 ,i am capable of doing ten times more than ,i have done4 ,this prevailing impression broke forth on many occasions4 ,he had accompanied ,sir ,thomas ,lawrence to see a collection of fine casts from the antique1 which had recently been formed by ,jens ,wolff1 ,esq4 then ,consul to his ,danish ,majesty1 and which were arranged in a gallery built for the purpose by ,mr4 ,smirke1 at ,sherwood ,lodge1 ,battersea4 ,in a niche1 at the end of the gallery1 was placed the colossal statue of the ,farnese ,hercules1 and by a novel arrangement of the lamps 7the rest of the gallery being in total darkness71 a very powerful effect was given to the statue1 which had been turned with its back to the spectator1 and thus presented a vast mass of shadow1 defined only by its grand outline and the strength of the light beyond it2 the source of which was concealed by the pedestal4 ,its appearance being singularly striking1 in the course of the evening1 ,mr4 ,fuseli was taken down to see it4 ,sir ,thomas ,lawrence attended him1 and for a few moments was disappointed by the silence of his friend2 but on a servant bringing a light into the entrance-room1 he perceived ,fuseli excited even to tears1 as he exclaimed with deep tremulous energy1 ,no man shall persuade me1 that these emotions which ,i now feel are not immortal4 ,in farther corroboration of his opinions on this point1 ,i may give the following conversation which ,i heard4 ,fuseli was maintaining the immortality of the soul2 a gentleman present said1 ,i could make you or any man of sense disbelieve this in half an hour's conversation4 ,fuseli immediately answered1 ,that ,i am sure you could not1 and ,i will take care you shan't4 ,being pressed one day by his friend1 the ,reverend ,john ,hewlett2 upon his belief in the resurrection of ,christ1 that gentleman informs me1 he answered1 ,i believe in a resurrection2 and the resurrection of ,christ is as well authenticated as any other historical fact4 ,although he was averse to religious controversy1 and seldom entered into it1 yet1 if his forbearance made others press the subject1 he soon shewed that he was not ignorant of the respective merits of the polemics in the ,christian ,church1 who have in all times broached and supported contrary opinions upon disputed points4 ,he has more than once said to me1 ,there are now no real ,christians1 for the religion of ,christ died with its great ,author2 for where do we witness in those who bear his name1 the humility1 self abasement1 and charity of their master1 which qualities he not only taught1 but practised8 ,a detection of parallel passages in authors1 or of similar figures in the pictures of painters1 was a favourite amusement of ,fuseli's1 and he would sometimes indulge in these to the gratification and instruction of the company by the hour together1 for no man was more acute in discovering plagiarism4 ,i have been indulged by the kindness of a lady of great literary attainments with the following letter1 which will give some notion of his power in this respect1 as far as literature is concerned4 ,norbury ,park4 ,some one1 who had a right to write what he liked1 even nonsense2--,tiberius1 ,i believe1 began a letter to the ,roman senate thus3 ',conscript ,fathers1 you expect a letter from me2 but may all the gods and goddesses confound me1 if ,i know on what to write1 how to begin1 how to go on1 or what to leave out3' his perplexity arose certainly from a cause very different from that which occasions mine1 though the result appears to be nearly the same4 ,had ,i brought my eyes and mind with me1 ,i might perhaps offer some tolerable observations on the charms that surround me1 to one who is all eye and all mind2 but she who is really possessed by one great object1 is blind to all others2 and though ,milton could never have been the poet of ',paradise ,lost1' had he been born blind1 blindness was of service to him when he composed it4 ,when ,i saw you last1 you wished me to point out the passage in ,tasso1 which appeared to me copied from the ,homeric description of the ,cestus of ,venus1 in the ,fourteenth ,book of the ,ilias2 ,i have transcribed it from one which ,i found here in the library3-- ,teneri sdegni1 e placide e tranquille ,repulse1 cari vezzi1 e liete paci1 ,sorrisi1 parolette1 e dolci stille ,di pianto1 e sospir tronchi1 e molli baci3 ,fuse tai cose tutte1 e poscia unille1 ,ed al foco tempr di lente faci2 ,e ne form quel s mirabil cinto1 ,di ch' ella aveva il bel fianco succincto4' ,these ingredients have been tried1 they have been tasted1 they are the fruits of a lover's paradise2 yet1 here they are nothing but an empty catalogue2 and if they have a charm1 it lies in the melting genius of the language3 compare them with the following lines from the ,vision of ,arthur1 in ,spenser4 ,caresses sweet1 and lovely blandishment1 ,she to me made1 and bade me love her dear1 ,for dearly sure her love to me was bent1 ,as when meet time approached1 should appear2 ,but whether dreams delude1 or true it were1 ,was never heart so ravished with delight4 ,when ,i awoke and found her place devoid1 ,and nought but pressed grass1 where she had lyen1 ,i sorrowed as much as erst ,i joyed1 ,and washed all the place with watery eyn2 ,from that day forth ,i cast in careful mind1 ,to seek her out---- ,thus1 as he spoke1 his visage waxed pale4 ,here is soul1 action1 passion4 ,adieu1 ,henry ,fuseli4 ,,chapter ,,xv4 ,character of ,fuseli as an ,artist4--,his early style4--,his ardent pursuit of excellence in design4--,his neglect of mechanical means1 particularly as regards ,colours4--,his professional independence1 unmixed with obstinacy4--,his preeminent faculty of invention1 and success in the portraiture of the ideal4--,his deficiencies as to correctness1 and disinclination to laborious finish4--,causes of his limited popularity as a ,painter4--,his felicity in ,likenesses4--,his colour and chiar' oscuro4--,his qualities as a ,teacher of the ,fine ,arts4--,his ardent love of ,art4--,arrangements as to the disposal of his ,works1 c4--,list of his ,subjects exhibited at the ,royal ,academy1 from #aggd to #ahbe4 ,it now remains to speak of ,fuseli as an artist1 and on this subject it is not necessary to be very diffuse1 having been favoured with the able article1 to be found in the ,appendix1 from the pen of ,william ,young ,ottley1 ,esq41 a gentleman who was for many years the intimate friend of ,fuseli1 whose talents as an amateur artist1 whose knowledge1 taste1 and judgment in the ,fine ,arts are so eminently conspicuous1 and whose claims to distinction are so well known to the public by his various works4 ,it has been shewn throughout this memoir1 that the ,fine ,arts was the ruling passion of ,fuseli1 but that his father took more than ordinary pains to prevent his becoming an artist1 and even checked his wishes to practise in the ,fine ,arts as an amusement2 hence1 the benefits which are considered to arise from that early education which artists usually receive1 were altogether withheld from him4 ,his style of drawing in early life was formed from those prints1 which he could only consult by stealth1 in his father's collection1 and these were chiefly from the ,german school4 ,from this circumstance1 his early works have figures short in stature1 with muscular1 but clumsy limbs4 ,but in the invention of the subject1 even in his youth1 he took the most striking moment1 and impressed it with novelty and grandeur2 hence some of his early productions tell the stories which they are intended to represent1 with a wonderful felicity1 and1 in this respect1 are little inferior to his later works2 a circumstance which he himself was not backward to acknowledge4 ,fuseli always aimed to arrive at the highest point of excellence1 particularly in design1 and constantly avowed it4 ,when young1 he wrote in the ,album of a friend1 ,i do not wish to build a cottage1 but to erect a pyramid2 and to this precept he adhered during life1 scorning to be less than the greatest4 ,until he was twenty-five years of age1 he had never used oil colours2 and he was so inattentive to these materials1 that during life he took no pains in their choice or manipulation4 ,to set a palette1 as artists usually do1 was with him out of the question2 he used many of his colours in a dry1 powdered state1 and rubbed them up with his pencil only1 sometimes in oil alone1 which he used largely1 at others1 with an addition of a little spirit of turpentine1 and not unfrequently in gold size2 regardless of the quantity of either1 or their general smoothness when laid on1 and depending1 as it would appear to a spectator1 more on accident for the effect which they were intended to produce1 than on any nice distinction of tints in the admixture or application of the materials4 ,it appears doubtful whether this deficiency in his early education1 and his neglect also of mechanical means1 will be detrimental to his fame as an artist1 particularly in the minds of those who can penetrate beyond the surface2 for if he had been subjected to the trammels of a school1 his genius would have been fettered2 and it is then probable that we should have lost those daring inventions1 that boldness and grandeur of drawing1 7incorrect1 certainly1 sometimes in anatomical precision17 so fitting to his subjects1 and that mystic chiar' oscuro1 which create our wonder and raise him to the first rank as an artist4 ,he was always proud of having it believed that1 in the ,fine ,arts in particular1 in some of the languages1 and in many branches of literature1 he had arrived at celebrity and eminence1 more by his own unassisted endeavours than from the instructions of others4 ,and1 in reference to this1 he on one occasion exclaimed1 in the words of ,glendower1 with a considerable degree of self-complacency-- ,where is he living1 clipped in with the sea ,that chides the banks of ,england1 ,scotland1 ,wales1 ,which calls me pupil6#fh ,after quitting his paternal roof1 the first work of art which1 as ,i have before stated1 appeared to impress his mind with the grandeur of its proportions1 was ,richel's colossal figure of ,st4 ,michael1 over the gateway of the ,arsenal at ,augsburg2 and he afterwards1 from having seen this1 altered in some degree the proportions of his figures4 ,but still1 most of the faults of the ,german school1 in this particular1 remained1 until after he had visited ,italy4 ,the works of the ancients in sculpture1 the frescoes of ,michael ,angelo and ,raphael1 and the oil paintings of the great masters of the ,italian school which he studied there1 particularly the two first1 produced a still greater change in the proportions of his figures1 and he founded his future works upon them3 if1 however1 any figure or group of figures may be quoted to have had a greater influence in this1 or to have impressed his mind with more than ordinary notions of grandeur1 the two colossal marble statues#fi by ,phidias and ,praxiteles upon ,monte ,cavallo1 may be instanced2 these chiefly regulated his proportions and influenced his style1 although it must be acknowledged that1 in the length of limbs1 he frequently exceeded them4 ,i have heard him dilate upon the sensations which were produced upon his mind when he has sometimes contemplated these grand works of art1 on an evening1 when the sky was murky for some distance above the horizon1 and they were illuminated by occasional flashes of vivid lightning4 ,fuseli paid much attention1 and gave due consideration to the suggestions of others1 respecting his own performances1 particularly with regard to the proportions of his figures1 and indeed courted the observations not only of the learned1 but of those also who are unskilled in the art1 and usually profited by their remarks4 ,when ,mr4 ,ottley1 then a very young man1 and always an admirer of the ,fine ,arts1 was introduced to him by ,mr4 ,seward1 in the year #aghi1 he was painting the picture of ,wolfram introducing ,bertram of ,navarre to the place where he had confined his wife with the skeleton of her ,lover1#gj which was exhibited the following year1 this gentleman observed1 ,i like your composition much1 but ,i think the proportions of the figures in the back-ground1 those1 ,i mean1 of the ,baron and his friend1 too long in the lower limbs4 ,fuseli paused for a time1 and then answered1 ,you are right1 and immediately reduced them in height4 ,in invention1 which is not within the rules of art1 and therefore may be considered the highest quality of a poet or a painter2 no man has gone beyond him1 and perhaps he possessed this quality in a higher degree than any other artist1 since the restoration of the ,fine ,arts in ,europe4 ,the portfolios of drawings which he left1 fully establish his claim1 in this respect1 to his being considered a genius of the first class1 and as such place him in the highest rank of artists1 ,michael ,angelo and ,raphael not excepted4 ,these drawings were made with wonderful felicity and facility2 and a spectator would be astonished to see with what ease and power he invented and executed them4 ,in telling the story of the subject1 he was never deficient2 and the designs made by him would be enough to occupy the lives of many painters to put them upon canvass2 for there was no very striking incident in the poets in particular1 or in the historians1 from ,hesiod down to our own times1 which1 at some period of his long life1 had not been the subject of his pencil4 ,on his drawings1 he usually put the time when1 and place where made2 but ,i know of no instance of his having placed either his name or a monogram upon a picture4 ,no artist had a more vivid fancy than ,fuseli1 or was more happy in pourtraying superhuman and ideal beings3 thus1 the visions of ,dante and ,spenser1 and the poetic flights of ,shakspeare and ,milton1 were stamped even with originality by his pencil2 and those scenes which1 from their difficulty to be represented on paper or on canvass1 would deter most artists from attempting them1 were his favourite subjects2 and in his delineation of them1 he may generally be placed on a par with1 and he occasionally soars above1 the poet4 ,perhaps to no man can the following lines be more aptly applied than to ,fuseli3-- ,the poet's eye1 in a fine frenzy rolling1 ,doth glance from heaven to earth1 from earth to heaven2 ,and1 as imagination bodies forth ,the forms of things unknown1 the painter's brush ,turns them to shapes1 and gives to airy nothing ,a local habitation1 and a name4 ,it is1 therefore1 in these visionary scenes in which he shone most1 and which defy competition2 for the daring pencil of ,fuseli transports us beyond the boundaries of nature1 and ravishes us with the charm of the most interesting novelty4#ga ,in works of this nature1 an occasional extravagance of drawing rather tends to encrease than to diminish their interest2 so he was thus enabled to introduce therein those heroic and epic forms so peculiar to himself1 which do not so well accord with subjects of sober history4 ,fuseli frequently invented the subjects of his pictures without the aid of the poet or historian1 as in his composition of ,ezzelin1 ,belisaire1 and some others2 these he denominated philosophical ideas made intuitive1 or sentiment personified4 ,on one occasion he was much amused by the following enquiry of ,lord ,byron3--,i have been looking in vain1 ,mr4 ,fuseli1 for some months1 in the poets and historians of ,italy1 for the subject of your picture of ,ezzelin2 pray1 where is it to be found8 ,only in my brain1 my ,lord1 was the answer2 for ,i invented it4 ,in composition1 which has been not inaptly termed the painter's invention1 he was very happy2 for in his productions there are never figures to let2 but there is a general link1 and one and all tend to tell the story1 and influence the spectator4 ,the disposition and folding of the drapery were always appropriate and good4 ,he had a high feeling of grandeur in his male1 and of beauty in his female forms3 although1 in the former1 strength of muscular action is often exaggerated1 and in the latter there is occasionally a degree of apparent voluptuousness2 yet he gave to both great truth of physiognomic expression1 being always intent upon the intellectual part of his art4 ,he was well acquainted with osteology1 or the form and position of the bones in the human body2 in these he seldom erred1 although1 perhaps1 they were often too strongly marked4 ,he was also skilled in the theory of the anatomy of the muscles2 but as he never painted from1 and seldom consulted1 living models after he quitted ,italy1 except when he occasionally acted as visitor in the ,life ,academy2 so1 when he put a figure on paper or on canvass into a position which he had never seen it assume1 either in a statue or in nature1 he was occasionally incorrect in its muscular action4 ,the models in the ,life ,academy did not tend to correct him in this1 he being more intent upon the progress of the pupils than his own information3 they were therefore usually placed by him in attitudes to correspond with the antique figures4 ,as no individual form has been found1 in all its parts1 to approach1 in point of symmetry1 to the celebrated works of the ancient sculptors1 so1 when ,fuseli has been solicited to paint frequently from life1 he has said1 ,nature puts me out2 meaning to convey this notion1 that he searched in vain in the individual for that beauty or grandeur which he had mentally contemplated4 ,although he was happy in delineating playful scenes1 yet those which create terror or sympathy in the mind1 were his general and favourite subjects1 and these he treated with great power2 yet1 in carrying the terrible to its utmost limits1 ,i know of no subject from his pencil calculated to create horror or disgust4 ,he invented and composed his pictures with great rapidity1 and if he thought of a subject1 and had not a canvass of a convenient size1 it was frequently his practice to rub in the new idea upon a finished picture2 hence some of his ablest productions are lost4 ,as his mind was ever intent upon something new1 it cost him an effort to finish a picture2 which disposition1 it appears1 he inherited2 for1 in speaking of an ancestor1 ,matthias ,fessli1 who died at ,zurich in the year #affe1 he thus expresses himself3--,his extensive talent was checked by the freaks of an ungovernable fancy1 which seldom suffered him to finish his work4 ,his subjects1 in general1 were battles1 towns pillaged1 conflagrations1 storms4#gb ,in painting his pictures1 ,fuseli used indiscriminately the right hand or the left2 but as the latter was more steady1 if he were executing subjects on a small scale1 which required more than ordinary neatness of touch1 they were usually performed with the left4 ,and although some of his small pictures were highly finished1 and touched with great neatness1 yet he excelled in those where the figures were of or above the size of nature4 ,the subjects of his pencil were never very popular2 because they were generally drawn from poetic imagery1 or from classical authors1 which require a poetic eye and mind in the spectator1 or a deep knowledge in the classics1 to appreciate properly4 ,he gloried in never having made his pencil a pander to the public taste1 and that he had lived by painting what pleased himself1 and was content to trust to time for a correct appreciation of his merits4 ,for when1 as he said1 envy shall no longer hold the balance1 the next century will become just1 and the master impede no more the fame of his works4 ,in going home with him one evening1 in a coach1 to ,somerset ,house1 after having left ,mr4 ,johnson's house1 ,bonnycastle being present1 ,fuseli put to him the following question3--,pray1 ,bonnycastle1 what do you consider the reason that ,i am not popular as a painter1 in a country which has produced ,shakspeare and ,milton8 ,bonnycastle answered1 ,because the public like familiar subjects1 in which there may be individual beauty with fine colouring4 ,is that their taste8 said ,fuseli hastily3 then1 if ,i am not their painter1 they are not my critics4 ,he had a happy method of giving likenesses1 from memory1 of those persons whose physiognomic cast of countenance took his fancy2 but the only portraits which he painted regularly from life1 were those of ,dr4 ,priestley1 and ,mrs4 ,neunham1 a niece of ,mr4 ,johnson's4 ,the portrait of ,dr4 ,priestley is very characteristic2 and ,fuseli always felt convinced that he should have succeeded as a portrait painter1 beyond the expectations of his contemporaries1 if he had turned his attention to that branch of the art4 ,it has been considered by some1 who mistake style for manner1 that ,fuseli was in all respects a mannerist4 ,that his pictures always have a marked and distinguishing character is true2 but if he had a manner1 it was peculiarly his own1 and it belongs to no other artist4 ,it must however1 in justice1 be confessed1 that a sort of family-likeness runs through many of his figures4 ,but if the pictures which composed his greatest work1 the ,milton ,gallery1 be critically compared1 one with the other1 it will be found that1 in the invention of them in particular1 few painters have made greater deviations than he has done2 no two being composed or painted upon precisely the same principles4 ,as a colourist1 ,fuseli has never ranked high2 for in his works there is generally nothing of that splendour which captivates us in the ,venetian and ,dutch schools1 as they usually have the sobriety of tone which is more peculiar to fresco than to oil-painting2 he was not unaware of this1 and expresses himself thus1 in one of his lectures on colour3--,of this it is not for me to speak1 who have courted1 and still continue to court--colour1 as a lover courts a disdainful mistress4 ,but if1 by the term colouring1 be meant an adaptation of hues and general tone to the nature of the subject represented1 then he may be considered1 in the strictest sense of the word1 a colourist4 ,yet1 if we take a wider range1 we shall find many examples in his pictures which must be acknowledged by every one to possess fine colour3 thus1 the back figure of a female 7,sin7 in ,the bridging of ,chaos1 the child in ,the ,lapland ,witches1 and the figure of ,sin in the picture of ,sin pursued by ,death1 may be adduced as unanswerable proofs of this fact4 ,when the excellence of particular pigments to produce fine colouring has been the topic of conversation1 he has said1 ,the colours1 as now prepared in ,england1 are sufficently good2 it only requires the mind and eye to adapt1 and the hand to regulate them4 ,in chiar'oscuro1 or the art of giving a single figure1 or a composition of figures1 their true light and shadow1 ,fuseli was a perfect master1 and deserves unmixed praise for the breadth of his masses1 and for directing the eye of the spectator to the principal figures or features in his pictures4 ,in this1 perhaps1 no master in the ,british school has gone beyond him2 for in his productions we witness that union of subject and tone1 brought about by a skilful adaptation and disposition of light and shadow1 which we look for in vain in the works of many other painters4 ,as a teacher of the ,fine ,arts1 whether ,fuseli be considered in his capacity of ,professor of ,painting1 or in that of ,master in the schools of the ,royal ,academy1 his knowledge stands unrivalled2 in the first1 for critical acumen2 and in the second1 which now more properly comes under consideration1 for the soundness of his judgment1 for the accuracy of his eye1 and for the extensive knowledge which he possessed of the works of the ancient and modern masters4 ,to the students he was a sure guide and able master1 ever ready to assist by his instructions modest merit1 and to repress assumption2 and if he felt convinced that a youth was not likely to arrive at eminence as an artist1 he was the first to persuade him to relinquish that pursuit1 rather than proceed in the path which would only end in ruin or disappointment4 ,he always held the opinion1 however liable to objection1 that there is no such thing in the universe of mind as ----a flower born to blush unseen1 ,and waste its sweetness on the desert air2 for every man1 he considered1 would shew what is in him1 and do all that his nature has qualified him to do4 ,to those who presumed upon a talent which they did not possess1 no man was more severe4 ,it was no uncommon thing with him1 if he found in the ,antique ,academy a young man careless about the accuracy of his lines1 and intent only upon giving a finished appearance to his drawing1 to cut in1 with his sharp thumb nail1 a correct outline1 and thus spoil1 in the opinion of the student1 his elaborate work4 ,that the ,english school of design gained great advantages by his appointment of ,keeper of the ,academy1 cannot be doubted2 and1 to be convinced of this1 it is only necessary to refer to the able works of living artists1 ,hilton1 ,etty1 ,wilkie1 ,leslie1 ,mulready1 ,haydon1 ,briggs1 and others1 who were his pupils4 ,notwithstanding the variety of his acquisitions1 and his profound knowledge in1 and love for1 literature1 his ruling passion was the ,fine ,arts2 but he never intruded them as the subject of conversation1 unless pressed to do so4 ,he evinced this ruling passion strong in death2 for1 just before his last illness1 he had sent two pictures for the then ensuing exhibition of the ,royal ,academy2 the larger one1 ,a ,scene from ,comus1 finished2 the smaller1 ,psyche passing the ,fates1 in an unfinished state1 intending1 as is the common practice with the ,academicians1 to glaze and harmonize this picture in the situation where it was to be placed4 ,its unfinished condition frequently occupied his thoughts during his illness1 and he1 but two days before his death1 spoke of it with great solicitude to ,sir ,thomas ,lawrence1 wishing it either to be withdrawn1 or that some painter of talents would harmonize it for him4 ,the last work on which his pencil was employed1 and on which he painted a few days previously to his death1 was a scene from ,shakspeare's ,king ,john3 in this picture1 the figure of ,lady ,constance in particular1 is finely designed1 and grief is admirably depicted in her countenance2 he was painting this for ,james ,carrick ,moore1 ,esq41 and it was nearly completed when he died4 ,the works of art1 and the library1 which ,fuseli left1 were disposed of as follows3--,his drawings and sketches were purchased at a liberal price1 by ,sir ,thomas ,lawrence4#gc ,the ,marquis of ,bute1 the ,countess of ,guilford1 and other friends1 bought pictures and books1 at prices named by myself1 to a considerable amount1 and the remaining pictures1 and the sketches in oil1 were sold by ,mr4 ,christie1 and the prints and books by ,mr4 ,sotheby4 ,a large collection of beautiful drawings1 of entomological subjects1 chiefly by ,mr4 ,abbot1 of ,georgia1 in ,north ,america1 a small part of which cost him two hundred guineas1 were the only articles reserved1 as no sum was offered which was considered as at all adequate to the value of these1 which had been ,fuseli's favourite study and amusement4 ,the following is a list of the pictures and drawings exhibited by ,fuseli at the ,royal ,academy1 from #aggd to the year #ahbe inclusive1 making a total of sixty-nine pictures4 #aggd--,the ,death of ,cardinal ,beaufort 7a drawing74 #aggg--;,a scene in ,macbeth4 #aghj--;,ezzelin ,bracciaferro musing over ,meduna1 slain by him for disloyalty during his absence in the ,holy ,land4--,satan starting from the touch of ,ithuriel's lance4--,jason appearing before ,pelias1 to whom the sight of a man with a single sandal had been predicted fatal4 #agha--;,dido1 ,illa graves oculos1 c4 7neid #d47--,queen ,katherine's ,vision4 7,vide ,shakspeare's ,henry ,,viii4 ,act #e47--;,a ,conversation4 #aghb--,the ,nightmare4 #aghc--,the ,weird ,sisters--,perceval delivering ,balisane from the enchantment of ,urma4 7,vide ,tale of ,thyot47--,lady ,constance1 ,arthur1 and ,salisbury4 7,vide ,shakspeare's ,king ,john47 #aghd--,lady ,macbeth walking in her sleep4--,oedipus with his ,daughters1 receiving the ,summons of his ,death4 7,sophocles47 #aghe--,the ,mandrake2 a charm4 7,vide ,ben ,jonson's ,witches47--,prospero4 7,vide ,tempest47 #aghf--;,francesca and ,paolo4 7,vide ,dante's ,inferno47--,the ,shepherd's ,dream4 7,vide ,paradise ,lost1 ,book ,i4 line #gha47--,oedipus devoting his ,son4 7,vide ,oedipus ,coloneus of ,sophocles47 #aghh--,theseus receiving the clue from ,ariadne 7a finished ,sketch47 #aghi--;,beatrice4 7,vide ,much ,ado about ,nothing47 #agij--,wolfram introducing ,bertram of ,navarre to the place where he had confined his ,wife1 with the ,skeleton of her ,lover4 7,vide ,contes de la ,reine de ,navarre47 #agib--;,falstaff in the ,buck-basket4 7,vide ,merry ,wives of ,windsor47--,christ disappearing at ,emaus4 #agic--,macbeth2 the ,cauldron sinking1 the ,witches vanishing4 7,sketch for a large picture47--,amoret delivered from the enchantment of ,busirane1 by ,britomart4 7,vide ,spenser47 #agih--,richard the ,third in his ,tent1 the ,night preceding the ,battle of ,bosworth1 approached and addressed by the ,ghosts of several whom1 at different periods of his ,protectorship and ,usurpation1 he had destroyed4 #agii--,the ,cave of ,spleen4 7,vide ,rape of the ,lock47 #ahjj--,the ,bard4 7,vide ,gray47--,the ,descent of ,odin 7ditto74--,the ,fatal ,sisters 7ditto74 #ahja--;,celadon and ,amelia4 7,vide ,thomson's ,seasons47 #ahjc--,thetis and ,aurora1 the ,mothers of ,achilles and ,memnon the ,ethiopian1 presenting themselves before the throne of ,jupiter1 each to beg the life of her ,son1 who were proceeding to single combat4 ,jupiter decided in favour of ,achilles1 and ,memnon fell4 7,vide schylus47 #ahjd--,the ,rosicrusian ,cavern4 7,vide ,spectator47 #ahje--,the ,corinthian ,maid4 #ahjf--;,count ,ugolino1 ,chief of the ,guelphs1 of ,pisa1 locked up by the opposite party with his four sons1 and starved to death in the ,tower which from that event acquired the name of ,torre della ,fame4 7,vide ,inferno47--,milton dictating to his ,daughter4 #ahjg--;,criemhild1 the ,widow of ,sivril1 shews to ,trony1 in prison1 the head of ,gunther1 his accomplice in the assassination of her ,husband4 #ahjh--;,cardinal ,beaufort terrified by the supposed ,apparition of ,gloucester4 7,vide ,henry ,,vi4 ,part #b;d1 ,act #crd1 ,scene #c47 #ahji--,romeo contemplating ,juliet in the ,monument4 7,vide ,shakspeare's ,romeo and ,juliet47--,the encounter of ,romeo and ,paris in the ,monument of the ,capulets 7ditto74 #ahaj--;,hercules1 to deliver ,theseus1 assails and ,wounds ,pluto on his ,throne4 7,vide ,iliad1 ,book ,v4 v4 #dhe47 #ahaa--,macbeth consulting the vision of the armed ,head4 7,vide ,shakspeare's ,macbeth47--,sarpedon slain in battle1 carried home by ,sleep and ,death4 7,iliad1 ,book ,,xvii4 v4 #fhb47--,richard the ,third starting from the ,apparition of those whom he had assassinated4 7,vide ,shakspeare47--,dion seeing a female ,spectre overturn his altars and sweep his hall4 7,vide ,plutarch's ,life of ,dion47 #ahab--,lady ,macbeth seizes the daggers 7a sketch for a large picture74--,the ,witch and the ,mandrake4 7,vide ,ben ,jonson47--,eros reviving ,psyche4 7,apuleius47--,ulysses addressing the ,shade of ,ajax in ,tartarus4 #ahad--,sigelind1 ,sifrid's mother1 roused by the contest of the good and evil ,genius about her infant son4 7,vide ,liet der ,nibelunge ,,xi47--,queen ,mab4 ,she gallops night by night through lovers' brains4 7,vide ,romeo and ,juliet47--,criemhild mourning over ,sifrid4 7,vide ,liet der ,nibelungen ,,xvii47 #ahag--,perseus starting from the cave of the ,gorgons4 7,hesiod's ,shield of ,hercules47--,theodore in the haunted wood1 deterred from rescuing a female chased by an infernal ,knight4 7,vide ,boccaccio's ,decameron47--,criemhild throwing herself on the body of ,sivril1 assassinated by ,trony1 7,das ,nibelungen ,lied47--,sivril1 secretly married to ,criemhild1 surprised by ,trony on his first interview with her after the victory over the ,saxons 7ditto74 #ahah--;,dante1 in his descent to ,hell1 discovers amidst the flight of hapless lovers whirled about in a hurricane1 the forms of ,paolo and ,franscesca of ,rimini4 7,vide ,inferno1 ,canto #e47--;,a scene of the ,deluge4 #ahbj--;,an ,incantation4 7,see the ,pharmaceutria of ,theocrites47--,criemhild1 the ,widow of ,siegfried the ,swift1 exposes his body1 assisted by ,sigmond her father1 ,king of ,belgium2 in the minster at ,worms1 and swearing to his assassination1 challenges ,hagen1 ,lord of ,trony1 and ,gunther1 ,king of ,burgundy1 his brother1 to approach the corpse1 and on the wounds beginning to flow1 charges them with the murder4 7,lied der ,nibelungen1 ,adventure #ag4 #djhe1 c47--,ariadne1 ,theseus1 and the ,minotaur in the ,labyrinth4 7,vide ,virgil1 n4 #f47 #ahba--;,amphiaraus1 a chief of the ,argolic league against ,thebes1 endowed with prescience1 to avoid his fate1 withdrew to a secret place known only to ,eriphyle his wife1 which she1 seduced by the presents of ,polynices1 disclosed3 thus betrayed1 he1 on departing1 commanded ,alcmon his son1 on being informed of his death1 to destroy his mother4 ,eriphyle fell by the hand of her son1 who fled1 pursued by the ,furies4--,jealousy 7a sketch74--,prometheus delivered by ,hercules 7a drawing74 #ahbc--,the ,dawn1 ,under the opening eye-lids of the morn3 ,what time the gray-fly winds his sultry horn4 ,vide ,milton's ,lycidas4 #ahbd--;,amoret delivered by ,britomart from the spell of ,busyrane4 7,vide ,fairy ,queen47 #ahbe--;,comus4 7,vide ,milton47--,psyche4 ,such were the labours of ,fuseli1 for exhibition at the ,royal ,academy of ,arts2 but these are only a small part of the pictures executed by him1 during a long and arduous life1--works which will shew to posterity the energies of his mind1 the richness of his invention1 and the profundity of his knowledge4 ,,appendix4 ,the following article upon the character of ,fuseli1 as an artist1 is from the pen of ,william ,young ,ottley1 ,esq4 ,f4,s4,a4 ,a very slight comparison of the works of ,sir ,joshua ,reynolds with the portraits habitually produced by the painters of this country during the first half of the last century1 and whose merits1 for the most part1 as pictures1 now fit them only for the housekeeper's room or the garret1 will suffice to establish his claim as a restorer of art and a reformer of public taste4 ,somewhat later1 ,mr4 ,west produced his ',death of ,wolfe1' and some other pictures representing subjects of our national history1 which much surpassed what had before been done among us in that way2 and in landscape1 we had the now justly admired ,wilson4 ,in the highest department of painting however1 which not improperly may be termed poetic or epic painting1 we had still no artist of any eminence2 when in the year #aggi1 ,mr4 ,fuseli1 after a stay of eight years in ,italy1 came and settled among us4 ,of ,mortimer1 who had shortly before died young1 great expectations1 it is true1 had been formed2 and we had then also ,cipriani1 a ,florentine1 who1 in his way an excellent draughtsman1 long continued uninterruptedly to furnish our portfolios with pretty designs of sporting ,nymphs1 ,cupids1 and ,graces4 ,but the former1 although conversant with the human figure1 was too easily led to imitate the deformed and squalid in nature1 and was deficient in greatness of style2 and the genius of the latter wanted the nerve requisite to fit him for subjects requiring force and expression4 ,the genius of ,mr4 ,fuseli was of a very different class4 ,an intimate acquaintance with the learned languages had early enabled him to fill his mind from the rich storehouses of ancient poesy2 he was all energy and imagination4 ,but in his youth1 not then intending to practise painting professionally1 he had not subjected himself1 as an artist1 to the restraints of an academic education4 ,to curb his genius afterwards was impossible2 and to this circumstance we must attribute much of that fine wildness of character which distinguishes his performances2 not unmixed1 it is true1 with a certain exaggeration of manner in the drawing and action of the figures1 but which still no person of fancy would consent to exchange for the regulated but cold manner too often learned in schools4 ,had it been the intention of ,mr4 ,fuseli to devote his pencil to the representation of subjects of real1 sober history1 the every-day occurrences of life1 this peculiarity in his style1 often amounting to extravagance1 would have been inapplicable4 ,but it has ever been his aim1 especially in his larger works1 to soar in the sublime regions of ,poetry2 and what1 it may be asked1 is ,poetry1 if entirely divested of amplification8 ,a style founded upon ordinary nature1 such as we see every day1 is certainly ill-fitted to subjects of the above elevated description2 and should it be objected1 as a consequence of this fact1 that such subjects are therefore not the proper subjects for painting at all1 may it not be asked1 what is then to be said of many of the greatest works of ,michelangiolo1 of several of those of ,raffaelle1 of the admired performances of ,giulio ,romano at ,mantua1 and of many of the most extensive compositions even of ,rubens8 ,nor can it be insisted that such cases are not in point1 inasmuch as those artists did not use the same exaggeration of style in their naked figures as we see in those of ,mr4 ,fuseli3 for1 although they did not exaggerate in the same manner1 yet they all did exaggerate2 ,michelangiolo1 by giving to his figures that immensity of character1 which has occasioned them to be appropriately styled 'a race of giants2' ,raffaelle and ,giulio1 amongst other things1 by encreasing in thickness the limbs of their figures beyond what nature will commonly be found to justify2 and ,rubens1 by a mixed augmentation of muscle and obesity1 which1 were his figures alive1 might1 perhaps1 be found to have given them1 in most cases1 the appearance of encreased strength1 without the reality3 to say nothing of ,parmigiano1 whose works1 though deservedly esteemed1 often display1 in the outlines and proportions of the figures1 a far greater degree of extravagance than can generally be detected in those of the respected ,professor of ,painting to our ,royal ,academy4#gd ,but enough has been said to shew that the greatest artists have not thought that a style of drawing strictly imitative of common nature1 was well adapted to subjects of an ideal character4 ,it may be proper that we should now add a few words upon the style of ,mr4 ,fuseli in particular4 ,it is well known that the human figure1 trained and disciplined by gymnastic exercises1 presents to the eye an appearance very different from that which we perceive in the bodies of persons of inert habits accidentally seen naked1 or stripped for the purpose of being drawn from4 ,the frequent opportunities of viewing the human figure naked1 which were afforded to the ancient ,greek artists1 by the public games and festivals used among them1 could not fail to render this familiar to them2 and accordingly1 besides the correctness of proportion which we admire in their works1 we find in their statues the nicest distinctions of this kind1 exactly suited to the age1 dignity1 and habits of life of the different personages they were intended to represent4 ,to their figures of ,gods and ,heroes1 it is well known they were accustomed to give proportions more or less differing from those which they commonly adopted when representing the figures of ordinary men2 and this variation from any thing like a common standard is especially observable in the celebrated colossal statue upon ,monte ,cavallo1 of the sublime excellence of which all men may now form a judgment from the bronze cast of it lately erected in one of our parks3 for1 besides that the arch formed under the breast by the ribs1 and the divisions of the abdominal muscles are more strongly marked in that statue than in almost all others1 the lower limbs bear to the rest of the figure a greater proportionate length than we find in perhaps any other example of ancient sculpture4 ,a figure like this1 uniting in the fullest manner strength and activity with dignity1 was peculiarly adapted to subjects of an elevated and energetic character1 such as at all times pressed upon the imagination of ,mr4 ,fuseli2 and accordingly he made its proportions the basis of his style4 ,if it be urged that he too constantly kept to the proportions of the above model1 it may be answered that few or none of the painters of modern times have shewn a disposition to imitate the ancients in that nice discrimination of character in their naked figures1 which has been noticed above2 and it is well known that it has been objected1 even against ,michelangiolo1 the greatest designer of all1 that the numerous figures in his stupendous ',last ,judgment1' however varied in attitude1 are all of nearly the same character of form4 ,the fact is1 that ,mr4 ,fuseli's style of design is of the most elevated kind1 and consequently best suited to subjects of a very elevated character4 ,in respect of invention1 composition1 clair-obscure1 the works of ,mr4 ,fuseli generally merit unmixed praise2 and although in the more technical parts of colouring1 they have not equal pretensions1 still in this also they deserve commendation2 being commonly painted in that solemn tone of colouring which we admire in the works of the greatest fresco-painters1 and which ,sir ,joshua ,reynolds observes to be so well adapted to the higher kind of pictorial representation4 ,as an inventor1 he equals the greatest painters that have lived since the restoration of the art4 ,no one was ever more fully gifted with the rare faculty of at once discovering1 in the writer he is perusing1 the point of the story1 and the moment of time1 best calculated to produce a forcible effect in painting4 ,the loftier his subject1 the more easily he reaches it2 and when he undertakes that at which another artist would tremble1 he is the most sure of success4 ,the truth of this was especially made manifest in the year #agii1 when ,mr4 ,fuseli exhibited publicly a large collection of his works1 under the title of ',the ,milton ,gallery2' the subjects of by far the greater part of the pictures having been taken by him from the ',paradise ,lost4' ,the magnificent imagery of this poem1 the beautiful1 the sublime1 or the terrific character of the personages represented in it1 and of the actions described1 all combined to fit it for the display of the artist's surprising genius in its fullest force2 besides which1 the style of ,mr4 ,fuseli was here exactly suited to his subject4 ,but although the series1 as a whole1 was one of the greatest works of painting ever produced1 which 7certainly in its kind the most perfect17 elevating the painter to the same rank as the poet2 it failed1 as the poem itself had originally done1 to ensure to its author that immediate share of public favour which was his due1 and which is sure to be attendant upon successful endeavours in those inferior branches of the art which are more within the range of public capacity4 ,but the fashion or opinion of the day1 in matters of taste1 is not always the judgment of posterity2 and it cannot be too much regretted that the principal pictures of the series1 at least1 have not been kept together for the future advantage of our artists1 and the gratification of those whose studies might hereafter qualify them to appreciate their excellence4 ,for be it remembered1 by such persons as might otherwise be too readily induced to undervalue that which they do not understand1 that ,sir ,joshua ,reynolds became1 in the latter part of his life1 'clearly of opinion that a relish for the higher excellencies of the art is an acquired taste1 which no man ever possessed without long cultivation1 great labour1 and attention4' ,,verses ,,to ,,henry ,,fuseli1 ,,esq4 ,r4,a4 ,,on ,,his ,,series ,,of ,,pictures ,,from ,,the ,,poetical ,,works ,,of ,,milton4 ,,by ,,wm4 ,,roscoe1 ,,esq4 ,spirit of him who wing'd his daring flight ,towards the pure confines of primval light1 ,say1 whilst this nether world thy powers confin'd1 ,weak child of dust1 frail offspring of mankind1 ,thy station'd barrier this terrestrial mound1 ,th' incumbent vault of heaven thine upward bound1 ,thy means the common energies of man1 ,thy life a shadow1 and thy years a span2 ,how couldst thou1 struggling with opposing ,fate1 ,burst through the limits of this mortal state8 ,thence1 soaring high1 pursue1 with stedfast gaze1 ,the opening wonders of th' empyreal blaze1 ,where countless ,seraphs pour1 in burning zone1 ,concentric glories round th' eternal throne8 ,or hear1 and hearing live1 the dread alarms ,of heavenly war1 and ,cherubim in arms2 ,see in th' abyss the proud apostate hurl'd1 ,and rising into light1 the infant ,world8 ,fav'rite of ,heaven6 'twas thine1 on mortal eyes ,to pour these visions1 rich with rainbow dyes1 ,peopling the void of space with forms unseen1 ,rising from being to what might have been6-- ,nor he not breathes a portion of thy fire1 ,who bids the pencil answer to the lyre2 ,marks the bright phantoms at their proudest height1 ,and with determin'd hand arrests their flight2 ,bids shadowy forms substantial shape assume1 ,and heaven's own hues in mortal labours bloom4 ,for toils like these1 whate'er the meed divine1 ,that glorious meed1 my ,fuseli1 is thine1 ,who first to ,truth's embodied fulness wrought ,the glowing outline of the ,poet's thought4 ,artist sublime6 whose pencil knows to trace ,the early wonders of the kindred race6 ,not thine to search th' historian's scanty page1 ,the brief memorial of a fleeting age2 ,not thine to call1 from ,time's surrounding gloom1 ,high deeds of cultur'd ,greece1 or conqu'ring ,rome2 ,not thine1 with temporary themes to move1 ,of ,hope1 ,aversion1 ,pity1 ,rage1 or ,love4-- ,beyond whate'er the ,drama's powers can tell1 ,beyond the ,epic's high1 impetuous swell1 ,alike by clime and ages unconfined1 ,thou strik'st the chords that vibrate on mankind2 ,op'st the dread scenes that ,heaven suspensive eyed1 ,a world created1 or a world destroy'd2 ,recall'st the joys of ,eden's happier prime1 ,whilst life was yet unconscious of a crime1 ,whilst ,virtue's self could ,passion's glow approve1 ,and ,beauty slumber'd in the arms of ,love2 ,till1 dread reverse6 on man's devoted race ,th' insidious serpent work'd the dire disgrace4 ,then first1 whilst ,nature shudder'd with affright1 ,of ,sin and ,death was held th' incestuous rite2 ,then first1 o'er vanquish'd man1 began their reign1 ,the fiends of ,woe1 the family of ,pain3 ,disease the poison'd cup of anguish fills1 ,and opes the ,lazar-house of human ills-- ,see ,frenzy rushes from his burning bed2 ,see pining ,atrophy declines his head2 ,see mute ,despair1 that broods on woes unknown1 ,and ,melancholy gaze herself to stone6 ,then1 pouring forth from ,hell's detested bound1 ,revenge1 and ,fraud1 and ,murder stalk around2 ,till opening skies declare th' avenging ,god1 ,and ,mercy sleeps1 whilst ,justice waves the rod4 ,yet1 whilst the bursting deluge from the earth ,sweeps the rebellious brood of giant birth1 ,one proud survivor rolls his vengeful eyes1 ,and with last look the living ,god defies4 ,but now the waves their silent station keep1 ,and ,vengeance slumbers o'er the mighty deep2 ,again1 rejoicing o'er the firm fix'd land1 ,the favour'd ,patriarch leads his household band2 ,with sacred incense bids his altars blaze1 ,and pours to ,god the living song of praise4 ,thus1 as th' immortal ,bard his flight explores1 ,on kindred wing the daring artist soars2 ,undazzled shares with him ,heaven's brightest glow1 ,or penetrates the boundless depths below2 ,or on the sloping sun-beam joys to ride1 ,or sails amidst the uncreated void2 ,imbibes a portion of his sacred flame1 ,reflects his genius1 and partakes his fame4 ,,ode ,,addressed ,,to ,,henry ,,fuseli1 ,,esq4 ,r4,a4 ,,on ,,seeing ,,engravings ,,from ,,his ,,designs1 ,,by ,,henry ,,kirke ,,white4 ,mighty magician6 who on ,torneo's brow1 ,when sullen tempests wrap the throne of night1 ,art wont to sit and catch the gleam of light1 ,that shoots athwart the gloom opaque below1 ,and listen to the distant death-shriek long1 ,from lonely mariner foundering in the deep1 ,which rises slowly up the rocky steep1 ,while weird sisters weave the horrid song3 ,or when along the liquid sky ,serenely chant the orbs on high1 ,dost love to sit in musing trance1 ,and mark the northern meteor's dance2 7,while far below the fitful oar ,flings its faint pauses on the steepy shore17 ,and list the music of the breeze1 ,that sweeps by fits the bending seas2 ,and often bears with sudden swell ,the shipwreck'd sailor's funeral knell1 ,by the spirits sung1 who keep ,their night-watch on the treacherous deep1 ,and guide the wakeful helms-man's eye ,to ,helic in northern sky1 ,and there1 upon the rock inclined1 ,with mighty visions fill'st the mind1 ,such as bound1 in magic spell1 ,him#ge who grasp'd the gates of ,hell1 ,and bursting ,pluto's dark domain1 ,held to the day the terrors of his reign4 ,genius of horror and romantic awe1 ,whose eye explores the secrets of the deep1 ,whose power can bid the rebel fluids creep1 ,can force the inmost soul to own its law2 ,who shall now1 sublimest spirit1 ,who shall now thy wand inherit1 ,from him1#gf thy darling child1 who best ,thy shuddering images express'd8 ,sullen of soul1 and stern1 and proud1 ,his gloomy spirit spurn'd the crowd2 ,and now he lays his aching head ,in the dark mansion of the silent dead4 ,mighty magician6 long thy wand has lain ,buried beneath the unfathomable deep2 ,and1 oh6 for ever must its efforts sleep1 ,may none the mystic sceptre e'er regain8 ,oh1 yes1 'tis his6--thy other son2 ,he throws thy dark-wrought tunic on1 ,fuesslin waves thy wand1--again they rise1 ,again thy wildering forms salute our ravish'd eyes2 ,him didst thou cradle on the dizzy steep1 ,where round his head the volley'd lightnings flung1 ,and the loud winds that round his pillow rung1 ,woo'd the stern infant to the arms of ,sleep1 ,or on the highest top of ,teneriffe ,seated the fearless boy1 and bade him look ,where far below the weather-beaten skiff ,on the gulf-bottom of the ocean strook4 ,thou mark'dst him drink with ruthless ear ,the death-sob1 and1 disdaining rest1 ,thou saw'st how danger fired his breast1 ,and in his young hand couch'd the visionary spear4 ,then1 ,superstition1 at thy call1 ,she bore the boy to ,odin's ,hall1 ,and set before his awe-struck sight ,the savage feast and spectred fight2 ,and summon'd from the mountain tomb ,the ghastly warrior son of gloom1 ,his fabled ,runic rhymes to sing1 ,while fierce ,hresvelger flapp'd his wing2 ,thou show'dst the trains the shepherd sees1 ,laid on the stormy ,hebrides1 ,which on the mists of evening gleam1 ,or crowd the foaming desert stream2 ,lastly1 her storied hand she waves1 ,and lays him in ,florentian caves2 ,there milder fables1 lovelier themes ,enwrap his soul in heavenly dreams2 ,there ,pity's lute arrests his ear1 ,and draws the half-reluctant tear2 ,and now at noon of night he roves ,along th' embowering moon-light groves1 ,and as from many a cavern'd dell ,the hollow wind is heard to swell1 ,he thinks some troubled spirit sighs2 ,and as upon the turf he lies1 ,where sleeps the silent beam of night1 ,he sees below the gliding sprite1 ,and hears in ,fancy's organs sound ,arial music warbling round4 ,taste lastly comes1 and smooths the whole1 ,and breathes her polish o'er his soul2 ,glowing with wild1 yet chasten'd heat1 ,the wonderous work is now complete4 ,the ,poet dreams3--the shadow flies1 ,and fainting fast its image dies4 ,but lo6 the ,painter's magic force ,arrests the phantom's fleeting course2 ,it lives--it lives--the canvass glows1 ,and tenfold vigour o'er it flows4 ,the ,bard beholds the work achieved1 ,and as he sees the shadow rise1 ,sublime before his wondering eyes1 ,starts at the image his own mind conceived4 ,h4 ,k4 ,white4 99 99 99 99 99 ,the following verses were sent to me anonymously1 by the post2 as they shew the author to be well acquainted with the works of ,mr4 ,fuseli1 ,i trust the reader will think with me1 there needs no apology for inserting them in this place4 ,it is conjectured that they are from the pen of a young lady1 who is alike distinguished for personal attractions and amiability1 as for her taste and knowledge2 the daughter of a gentleman who has been frequently mentioned in this ,memoir4 ,a ,,vision4 ,last night ,i sunk to sleep's soft power resign'd1 ,when wizard ,fancy's wand1 before my mind1 ,conjur'd in dreams a visionary shew1 ,that seem'd with vivid ,truth's warm tints to glow4 ,by young ,favonius' fragrant pinions fann'd1 #e ,amidst ,elysian groves ,i seem'd to stand2 ,here1 when th' immortal spirit quits its clay1 ,the sons of ,genius dwell in endless day3 ,not they who empires founded1 or o'erthrew1 ,who conquer'd worlds1 or who discover'd new2 #aj ,not ,philip's headlong son1 not ,scipio's foe1 ,nor ,julius1 guilty of his country's woe2 ,in these fair fields the scourges of mankind ,reap'd not the meed to virtuous fame assign'd4 ,here ,music sweeps her lyre2 her heav'nly lay #ae ,the ,passions hear1 enraptur'd1 and obey3 ,here dwells th' immortal ,virgin ,poesy1 ,a noble wildness flashing in her eye2 ,inspired ,bards around the ,goddess throng1 ,and catch the accents flowing from her tongue4 #bj ,entranced1 whilst gazing on the blissful scene1 ,i mark'd a ,deity of matchless mien1 ,her port majestic1 in each motion grace1 ,fairer she shone than nymphs of mortal race3 ,i recognis'd the ,sov'reign of that art1 #be ,which through the eye finds entrance to the heart2 ,plac'd on an eminence1 she sat alone1 ,below her vot'ries press'd around her throne4 ,great ,vinci first1 with greater ,angelo1 ,sublime expression frowning on his brow1 #cj ,led on the daring ,tuscan band severe3 ,next ,raphael with calm dignity drew near1 ,who join'd to grand conception just design1 ,conducting the majestic ,roman line2 ,then ,titian with a gay and brilliant throng1 #ce ,sprung from the sea-born city1 mov'd along2 ,corregio in succession next pass'd by1 ,leading the graceful ,school of ,lombardy4 ,a genius vast1 original1 and bold1 ,the numerous band of ,holland's sons controll'd2 #dj ,and with his ,flemish train1 of pomp profuse1 ,the gorgeous ,rubens dazzled e'en the ,muse4 ,in order due arranged on either hand1 ,beside the silent ,queen they take their stand2 ,before whose throne ,helvetia stood1 to claim #de ,for an aspiring votary of ,fame ,admittance to these realms3--,o ,muse1 she cried1 ,the ,master's works contemplate1 and decide4 ,while speaking thus1 her wand on high she rear'd1 ,and lo6 a train of pictur'd groups appear'd2 #ej ,heroic phantoms seem'd to start from night1 ,and forms of beauty floated 'fore my sight2 ,from ages past reflected scenes arose1 ,of human passions1 and eternal woes4 ,there ,i beheld pourtray'd the lofty story #ee ,of ,man's first fall1 and ,satan's tarnish'd glory4 ,there rose the spectre ,prophet from the tomb1 ,to ,saul announcing his impending doom4 ,of ,ilion's tale a vision seem'd to speak1 ,and the long wand'rings of the prudent ,greek4 #fj ,there ,eriphyle bleeds upon the ground1 ,while ,furies fly t' avenge the impious wound4 ,in horror plunged1 deplor'd ,jocasta's son ,the fated crimes he strove in vain to shun4 ,here stalk'd the shadow of the murder'd ,dane2 #fe ,appall'd1 methought ,i saw th' astonish'd ,thane ,hail'd by each wither'd hag2--,from ,helle's tide ,th' enamour'd youth rush'd to his ,sestian bride4 ,there1 lost to hope1 the lovers mourn for ever6 ,whom not th' infernal whirlwind's rage can sever4 #gj ,the traitor ,guelph1 too1 'midst his famish'd brood1 ,expects in ,death th' eternal feast of blood4 ,in knightly guise th' heroic ,virgin's arm ,redeems fair ,amoret from magic charm3 ,and ,arthur slept2 who woke but to deplore #ge ,the ,beauty lov'd for ever1 seen no more4 ,on the arial portraiture1 amaz'd1 ,in pleasing wonder lost1 intent ,i gaz'd2 ,as ,sorrow1 ,guilt1 ,despair1 the scenes express'd1 ,awe1 ,terror1 ,pity1 sway'd by turns my breast2 #hj ,when1 suddenly1 ,i saw the heaven-born ,maid ,of sacred numbers1 from a neighbouring glade1 ',midst the great masters of immortal song1 ,toward the throne of ,painting move along4 ,now blind no more ,monides1 and he1 #he ,the daring ,bard of ,man's apostasy1 ,with buskin'd ,sophocles1 and lofty ,gray1 ,spenser1 sweet master of the moral lay2 ,severely grand1 the ,florentine sublime1 ,and ,avon's ,bard1 unmatch'd by age or clime1 #ij ,all crowd the visionary scenes t' admire1 ,pleas'd that such scenes their genius could inspire4 ,while onward the poetic ,virgin press'd1 ,and her who reign'd o'er ,painting1 thus address'd3-- ,o ,muse6 who charmest silently1 attend #ie ,to ,poesy1 thy ,sister1 and thy friend4 ,no vot'ry of that art o'er which you reign1 ,the nobler walks could ever yet attain1 ,unless ,i urged him proudly to aspire1 ,and kindled in his breast poetic fire4 #ajj ,belgia1 without my aid1 may tint the scene ,with golden hues1 and mimic ,nature's green2 ,immortalize the ,peasant and his can1 ,without selection1 imitating ,man2 ,or through transparent veins life's tide may gush1 #aje ,tinging ,venetian canvass with the blush ,of glowing ,nature2 uninspir'd by me1 ,the ,rose of ,merian may deceive the bee2 ,at ,rembrandt's touch the shining robe may flow1 ,the diamond sparkle1 or the ruby glow2 #aaj ,but he whom ,i inspire disdains such praise2 ,the soul's emotions1 ardent1 he displays2 ,fearless he wields ,invention's magic wand1 ,sprites1 fays1 and spectres rise at his command2 ,unveil'd1 the ,passions at his will appear1 #aae ,e'en ,heavenly essences he dares t' unsphere2 ,as1 from ,promethean touch each image glows1 ,and what the ,poet thought the ,painter shews4 ,while 'midst ,helvetia's native hills1 before ,this foster-son of ,britain sought her shore1 #abj ,i mark'd the future promise in the child2 ,the fire of genius1 vigorous1 and wild1 ,sparkled in infancy1 in manhood blaz'd2 ,you won his youthful fancy1 as he gaz'd1 ,th' enthusiast strove your favour to attain1 #abe ,and ,i propitious1 smil'd1 and pointed to your ,fane4 ,on ,leban's brow the cedar tow'ring high ,boasts not the lowly flow'ret's gaudy dye2 ,others may in the humbler parts excel1 ,but1 ,queen1 did ever artist think so well8 #acj ,is not the highest merit of your art1 ,t' exalt the fancy1 and to touch the heart8 ,then welcome the poetic ,painter1 ,muse1 ,nor to my fav'rite deathless fame refuse6 ,she ceased2 nor vainly pled the ,heavenly fair2 #ace ,th' assenting ,muse approv'd her sister's prayer3 ,enter these realms1 she cried2 th' award be thine1 ,amidst the sons of ,genius here to shine1 ,where ,envy's tongue no longer shall prevail3 ,hail ,fuseli6 ,immortal artist1 hail6 #adj ,resounding acclamations1 as she spoke1 ,burst on my ear1 ,i started1 and awoke4 ,,footnotes3 #a ,those who may be curious to see ,fuseli's early style in ,german1 may consult the ,life of ,chevalier ,hudlinger1 in the preface to the translation of ,mengs' thoughts on ,beauty2 and also a letter from ,switzerland to ,winkelmann2 both of which were written by him without alteration1 although they bear his father's signature4 #b ,at this time1 ,rsel's ,insects' ,banquet was his favourite study4 #c ,the public are indebted for many of the particulars of ,fuseli's early life to this gentleman1 who died in #ahaf1 and was a canon of ,zurich4 #d ,fuseli ever considered ,richardson a man of great genius1 and one who had a key to the human heart1 and was very indignant1 in the latter period of his life1 with a gentleman who spoke contemptuously of ,clarissa ,harlowe4 ,this person said in his presence1 ,no one now reads the works of ,richardson4 ,do they not8 said ,fuseli1 then by ,g----d they ought4 ,if people are now tired of old novels1 ,i should be glad to know your criterion of books4 ,if ,richardson is old1 ,homer is obsolete4 ,clarissa1 to me1 is pathetic--is exquisite2 ,i never read it without crying like a child4 #e ,the ,frank ,intelligencer4 #f ,the late ,mr4 ,henry ,fessli1 of ,zurich1 from whom the writer has received much information4 ,just as this ,memoir was completed1 this gentleman closed his mortal career4 ,he died on the #ast of ,may1 #ahbi1 in his seventy-fifth year4 ,mr4 ,fessli was a landscape painter1 and held the honourable situation of ,president of the ,society of ,artists at ,zurich4 ,he had been labouring for some years under occasional attacks of asthma1 and died therefrom much regretted4 #g ,mrs4 ,fuseli died at ,zurich1 #aa ,april1 #agei1 aged #dd years4 ,she was a woman of a most amiable disposition1 and respected by all who knew her4 #h ,do but the seventh part of what thou canst4 #i ,this charter1 however1 was never granted2 the artists received the patronage of the ,king1 and were by his command associated under the title of ,the ,royal ,academy4 ,among its early members we find the names of ,sir ,joshua ,reynolds1 ,gainsborough1 and ,wilson1 who for talent in the several departments of the art in which they practised1 have rendered their names immortal4 #aj ,fuseli wrote in pencil1 under this figure1 ,fuseli amor mio4--,mr4 ,ottley saw this still remaining in the year #agib1 when he was at ,bologna1 and added anche amor mio4--,w4 ,y4 ,ottley4 #aa ,this was a satirical drawing of the ,painters in ,england at that time4 #ab ,doctor ,armstrong died in ,september #aggi4 #ac ,mr4 ,fessli died at ,zurich the #fth of ,may1 #agha4 #ad ,i beg here to acknowledge my gratitude to ,mr4 ,roscoe for having allowed me to peruse the letters which he had received from ,fuseli during a period of more than forty years1 from which ,i have gleaned much useful information1 and have only to regret1 ,i am sure1 in common with every reader of this memoir1 that he did not accede to my wishes of being the biographer of his friend4 #ae ,the omissions in this and the succeeding letter1 where asterisks are placed1 relate only to the names of subscribers to the translation of ,homer4 #af ,samuel ,johnson4 #ag ,andrasi pygmaioisi phonon kai kra pherousai2 ,iliad1 iii4 v4 #f4 #ah ,tn auth' ,hyrtakids rch' ,asios1 orchamos andrn ,asios ,hyrtakids4---- ,iliad1 ii4 v4 #hcg-h4 #ai ,iliad1 v4 v4 #gbb-ca4 #bj ,iliad1 xi4 v4 #ae1 seq4 ,conf4 ,iliad1 ii4 v4 #db1 seq4 #ba ,iliad1 xiv4 v4 #agj1 seq4 #bb ,iliad1 xviii4 v4 #dgh-fjg4 #bc ,iliad1 iv4 v4 #aje-aaa4 #bd ,iliad1 ii4 v4 #aja-h4 #be ,clarke1 who has preserved this name in his marginal version1 contends strenuously1 and with great reason1 that ,outis ought not to be translated2 and in a passage which he quotes from the ,acta ,eruditorum1 we see much fault found with ,giphanius and other interpreters of ,homer1 for having translated it4 ,it is certain that1 in ,homer1 the word is declined1 not as outis -tinos1 which signifies no man1 but as outis -tidos1 making outin in the accusative1 consequently1 as a proper name4 ,it is sufficient that the ambiguity was such as to deceive the friends of the ,cyclops4 ,outis is said by some 7perhaps absurdly7 to have been a name given to ,ulysses1 on account of his having larger ears than common4 #bf ',outis as a name1 could only denote him who bore it2 but as a noun1 it signifies1 no man1 which accounts sufficiently for the ludicrous mistake of his brethren4' #bg ,vos1 the admirable translator of the ,odyss4 in ,german hexameters1 well aware that the question here lay not between grammar and licence1 puerility of conceit1 or dignity of fiction1 but between sense and nonsense1 without deigning to notice the contest of commentators1 has rendered outis1 by ,niemand1 in the first instance1 and afterwards varies it with ,keiner4 ,niemand ist mein ,name2 denn ,niemand nennen mich alle4 99 99 99 99 99 ,niemand wrgt mich1 ihr ,freund'1 arglistig6 und ,keiner gewaltsam6 ,wenn dir denn keiner gewalt anthut4-- #bh ,the first1 in ,,pyth4 ,a4 v4 #bh4 gan te kai ponton kat' amaimaketon ,the second1 in ,,pyth4 ,r4 v4 #eg-h4 ,pempse kasigntan menei8 ,thuoisan amaimaket2 where the scholiast explains it by akatamachtos1 and the notes deduce it from a compound of the ,a epitatik and maima3 a derivation more probable than that of our translator from hama1 and the ,doric makos2 unless we suppose that ,homer made use for his substantives1 of the ,ionic1 and for his compound adjectives1 of the ,doric dialects6 #bi ,plin4 ,l4 xxxiii4 c4 #d4 ',electro auctoritas1 ,homero teste qui ,menelai regiam1 auro1 electro1 argento1 ebore fulgere tradit4' ,helen1 he continues1 consecrated a cup of electrum at ,lindos1 'mamm su mensura1' and adds1 'electri natura ad lucernarum lumina clarius argento splendere4' #cj ,tn de met' ,alkmnn ,,idon----,kai ,megarn 7sc4 ,,idon7 kreiontos hyperthymoio thygatra ,tn echen ,amphitrynos hyios4---- #ca ,bayle is mistaken in supposing that the marriage of ,lorenzo took place in #adga4 ,speaking of ,machiavelli1 he says1 ,il ne marque pas l'anne de ce mariage1 ce qui est un grand dfaut dans un crivain d'histoire2 mais on peut recueillir de sa narration que ce fut l'an #adga4 ,dict4 ,hist4 art4 ,politien4 ,in correcting ,bayle1 ,menckenius falls into a greater error1 and places this event in #adgb4 ,menk4 in vit ,pol4 p4 #dh4 #cb ',how grateful to our sensations1 how distinct to our imagination appear the ,spelunc1 vivique lacus1 ac frigida ,tempe1 ,mugitusque bom1 mollesque sub arbore somni4 #cc ',published for the first time at the close of the present work4' #cd ,if ,virgil has given us a highly-finished personification of ,rumour1 if ,horace speaks of his atra ,cura1 if ,lucretius present us with an awful picture of ,superstition1 their portraits are so vague as scarcely to communicate any discriminate idea1 and are characterized by their operation and effects1 rather than by their poetical insignia4 ,of the ancient ,roman authors1 perhaps there is no one that abounds in these personifications more than the tragedian ,seneca2 yet what idea do we form of ,labour1 when we are told that ,labor exoritur durus1 et omnes ,agitat curas1 aperitque domos3 ',or1 of ,hope or ,fear1 from the following passage3 ,turbine magni1 spes solicit ,urbibus errant1 trepidique metus4 ',the personification of ,hope1 by ,tibullus1 7,lib4 ,,ii4 ,eleg4 #f47 is scarcely worthy of that charming author2 and if he has been happier in his description of ,sleep1 7,lib4 ,i4 ,eleg4 #a47 it is still liable to the objections before mentioned4' #ce ',it is commonly understood that the idea of a systematic arrangement1 for securing to states1 within the same sphere of political action1 the possession of their respective territories1 and the continuance of existing rights1 is of modern origin1 having arisen among the ,italian ,states1 in the fifteenth century4 ,robertson's ,hist4 of ,ch4 ,v4 v4 i4 sec4 #b4--;,but ,mr4 ,hume has attempted to shew that this system1 if not theoretically understood1 was at least practically adopted by the ancient states of ,greece1 and the neighbouring governments4 ,essays1 v4 #a4 part #b4 ,essay #g4--;,in adjusting the extent to which these opinions may be adopted1 there is no great difficulty4 ,wherever mankind have formed themselves into societies1 7and history affords no instance of their being found in any other17 the conduct of a tribe1 or a nation1 has been marked by a general will3 and states1 like individuals1 have had their antipathies and predilections1 their jealousies1 and their fears4 ,the powerful have endeavoured to oppress the weak1 and the weak have sought refuge from the powerful1 in their mutual union4 ,notwithstanding the great degree of civilization that obtained among the ,grecian ,states1 their political conduct seems to have been directed upon no higher principle3 conquests were pursued as opportunity offered1 and precautions for safety were delayed till the hour of danger arrived4 ,the preponderating mass of the ,roman ,republic attracted into it's vortex whatever was opposed to it's influence3 and the violent commotions of the middle ages1 by which that immense body was again broken into new forms1 and impelled in vague and eccentric directions1 postponed to a late period the possibility of regulated action4 ,the transactions in ,italy1 during the fourteenth and fifteenth centuries1 bear indeed a strong resemblance to those which took place among the ,grecian ,states3 but it was not till nearly the close of the latter century that a system of general security and pacification was clearly developed1 and precautions taken for insuring its continuance4 ,simple as this idea may now appear1 yet it must be considered1 that1 before the adoption of it1 the minds of men1 and consequently the maxims of states1 must have undergone an important change3 views of aggrandizement were to be repressed2 war was to be prosecuted1 not for the purpose of conquest1 but of security2 and1 above all1 an eye was to be found that could discern1 and a mind that could comprehend1 so extended an object4' #cf ',objects of horror and disgust1 the cold detail of deliberate barbarity1 can never be proper subjects of art1 because they exclude the efforts of genius4 ,even the powers of ,shakspeare are annihilated in the butcheries of ,titus ,andronicus4 ,yet the reputation of some of the most celebrated ,italian painters has been principally founded on this kind of representation4 ,ici1 says ,m4 ,tenhove1 c'est ,s4 ,etienne qu'on lapide1 et dont je crains que la cervelle ne rejaillisse sur moi2 plus loin1 c'est ,s4 ,barthlmi tout sanglant1 tout corch2 je compte ses muscles et ses nerfs4 ,vingt fleches ont cribl ,sebastien4 ,l'horrible tte du ,baptiste est dans ce plat4 ,le gril de ,s4 ,laurent sert de pendant la chaudire de ,s4 ,jean4 ,je recule d'horreur4--,mem4 ,gen4 lib4 x4 ,may it not be doubted whether spectacles of this kind1 so frequent in places devoted to religious purposes1 may not have had a tendency rather to keep alive a spirit of ferocity and resentment1 than to inculcate those mild and benevolent principles in which the essence of religion consists8' #cg ,our author has given ample opportunities to ,mr4 ,tenhove1 a ,dutch writer on nearly the same subject with his own1 to display a disparity of manner singularly contrasting with his own sober and authentic page4 ,mr4 ,t4 is apparently a wit and a man of feeling1 but at all times ready to sacrifice matter to whim1 or to substitute assertion for proof3 thus1 in talking of the celebrated cameo representing the punishment of ,marsyas1 once the property of ,lorenzo1 he tells us1 that of old it belonged to ,nero1 who used it as the seal of his death-warrants1 and who probably assumed the attitude of the ,apollo engraved on it1 whilst he assisted at the flogging of one ,menedemus1 a singer who had excited his jealousy2 a tale partly invented1 partly perverted from ,suetonius1 who tells something similar of ,caligula and ,apelles4 ,in another place1 7p4 #agh1 note b47 after ridiculing with somewhat prolix propriety the ,florentine custom of substituting1 even in grave writing1 the nicknames of their countrymen to their real ones1 he adds1 that it is a custom laughed at and disapproved by the rest of ,italian writers1 though undoubtedly he had read of ,cola di ,rienzi1 ,massaniello1 ,titta ,borghese1 ,giorgione1 ,il ,tintoretto1 ,fr ,bastiano1 and ,titian himself4 ,pauperis esset numerare pecus4 #ch ,giorgio ,vasari and ,ascanio ,condivi4 ,our author1 though a patient admirer of the first1 is offended at the insufferable minuteness of the second4 ,it would be unfair to consider ,condivi as the literary competitor of ,vasari1 yet great respect is to be paid to a narrative composed under the immediate eye of ,michaelagnolo himself4 ,his ,otto scudi al mese poco pi o meno1 whether they reflect much or little honour on the liberality of ,lorenzo1 have at least a right to rank with the quattro mazzi1 che erano quaranti libbre da candele di sego1 which1 the knight of ,arezzo informs us1 he sent as a present to ,michaelagnolo4 ,vasari ,vita di ,m4 ,a4 ,b4 tom4 vi4 p4 #cbh4 #ci ,this lady is called ,mrs4 ,wollstonecraft1 instead of ,mary ,wollstonecraft1 throughout this ,narrative1 in conformity to the memoirs which have hitherto appeared of her4 #dj ,this and subsequent quotations respecting ,mrs4 ,wollstonecraft are taken from her letters to ,fuseli4 #da ,memoirs of the ,author of a ,vindication of the ,rights of ,woman1 by ,william ,godwin4 #db ,mrs4 ,bysshe ,shelly4 #dc ,mr4 ,meyer was a painter of reputation1 both in miniature and enamel4 #dd ,la ,terribil ,via1 applied by ,agostino ,caracci to ,michael ,angelo4 #de ,this alludes to ,mr4 ,fuseli's proposals for a gallery filled with pictures painted by him from subjects taken from ,milton's ,paradise ,lost4 #df ,this elegant translation1 in verse1 was published under the title of ,the ,nurse4 #dg ,sir ,thomas ,lawrence1 in a discourse which he delivered as ,president of the ,royal ,academy1 on the #ajth ,december #ahbc1 says1 in reference to the ,milton ,gallery1 the many sublime designs by the great author of this1 whose unapproached invention and high attainments enforce this tribute to living genius4 #dh ,for an elucidation of this passage1 refer to ,suetonius1 edit4 ,burmanni1 v4 #b4 p4 #aga4 #di ,a name which ,fuseli gave to a sprained knee4 #ej ,this alludes to a contest which occurred on the way to ,paris3 the inquisitive traveller1 ,mr4 ,farington1 was disposed to sleep at ,st4 ,juste2 the rest of the party desired to push on4 ,mr4 ,moore1 who had the regulation of the journey1 decided the question by ordering out the horses4 #ea ,fuseli made this observation not only in reference to the physiognomic cast of ,david's countenance1 but his face was also disfigured by a hare-lip4 #eb ,the writer of this saw the picture in the year #aggi1 and made observations on the spot4 #ec ,in my ,lectures4 #ed ,the ,british ,institution was opened for the first exhibition1 on the #ahth of ,january1 #ahjf4 #ee ,a name by which he generally designated the amiable and ingenious ,tiberius ,cavallo1 a gentleman well known for his numerous and able works on ,natural ,philosophy1 who was also on a visit to ,mr4 ,rackett at this time3 at whose hospitable house he usually passed three or four of the summer months4 #ef ,mr4 ,johnson made ,cowper a present of one thousand pounds over and above their agreement4 #eg ,the passage is thus translated by ,franklin3-- -----,a dreadful clap ,of thunder shook the ground2 the virgins trembled1 ,and clinging fearful round their father's knees1 ,beat their sad breasts and wept4 ,sophocles ,oedipus ,coloneus1 ,act4 #e1 ,scene #a4 #eh ,professor ,bonnycastle was born at ,aylesbury1 in ,buckinghamshire1 in ,january #ageb1 and died at ,woolwich1 #aeth of ,may1 #ahba4 #ei ,while these pages were passing through the press1 ,europe and the fine arts have been bereaved of the splendid talents of ,sir ,thomas ,lawrence4 ,this gentleman died1 after an illness of a few days continuance1 on the #gth of ,january1 #ahcj1 in the sixty-first year of his age4 ,shortly after ,sir ,thomas's arrival in ,london1 ,fuseli saw the future promise in the youth1 and was therefore gratified in making remarks upon his portraits for his improvement4 ,this kind notice1 from a man whom ,sir ,thomas held in the highest esteem for talents and various acquirements1 made a deep impression on his mind3 he sought an intimacy with him1 which1 upon more mature knowledge of the individual1 ripened into the closest friendship4 ,the world is now deprived of these two great artists1 and there can be no other than feelings of deep regret for their loss4 ,these1 however1 with regard to myself1 are not unmingled with those of satisfaction1 when ,i consider the many happy hours passed in their society1 and that this pleasure was enjoyed for more than twenty years4 ,at the death of ,mr4 ,west1 in the year #ahbj1 ,fuseli was among the most forward of the ,academicians to propose that his friend1 ,sir ,thomas1 who was then on the ,continent of ,europe1 should fill the chair4 ,this honour he felt due to him1 not only for his unrivalled powers as a portrait painter1 but for the elegance of his mind and the urbanity of his manners4 ,few men had so pleasing an address2 and fewer the happy method of making this acceptable to the particular persons with whom he conversed4 ,although ,sir ,thomas ,lawrence was not1 in the usual acceptation of the word1 a scholar1 being unskilled in the dead languages2 yet he was well versed in ,english literature1 had a fine taste for poetry1 and ,i have heard him recite some lines of his own composition1 7full of merit7 with great taste1 feeling1 and judgment4 ,sir ,thomas is known to the public chiefly as a portrait painter1--the only lucrative branch of the art in ,england4 ,in this1 his style was truly ,english4 ,in the countenances of his men we see faithful likenesses2 sometimes certainly given with some degree of flattery2 but he was always the more intent in shewing the mind's construction in the face4 ,in his portraits of heroes there is always dignity2 in those of statesmen1 depth of thought1 with firmness of character4 ,in the delineation of females1 in which he chiefly shone1 beauty and delicacy were combined with great taste of attitudes1 and which was heightened by the elegance and disposition of their drapery4 ,his backgrounds were always appropriate to the portraits2 and when his pencil was employed on large pictures1 these were introduced with great taste and power4 ,the drawings of the human face in black lead pencil1 frequently heightened with a little colour1 which he sometimes made to present to his friends1 exceed all praise1 for truth1 delicacy1 and fine finish4 ,had public encouragement gone hand in hand with the powers of the man1 we should1 no doubt1 have possessed some fine epic and dramatic subjects from his pencil4 ,as a proof of this1 ,i may again be permitted to advert to the sublime picture of ,satan calling up his ,legions1 which was purchased by the late ,duke of ,norfolk1 and came again into the possession of ,sir ,thomas1 when his ,grace's effects were sold3 here we see an epic subject of the highest class treated with invention1 great power of drawing1 and brilliancy of colouring4 ,this1 with ,homer reciting his ,verses to the ,greeks1 are the only historical pictures from his pencil that ,i am acquainted with1 and perhaps the only ones known4 ,in this advanced stage of my work1 ,i may be excused for giving only a brief sketch of my friend1 whose loss every admirer of the fine arts in ,europe deeply deplores2--a man whose name will go down to posterity coupled with those of the great masters who have preceded him in the pictorial art2 and as the present high appreciation of his merits does not rest upon adventitious circumstances1 time will rather add to than detract from his fame4 #fj ,in this particular1 the writer is in error1 as ,dr4 ,holland was kind enough to give his gratuitous attendance1 at the earnest request of ,sir ,thomas ,lawrence4 #fa ,the passage is as follows3-- ,olim quod vulpes groto cauta leoni ,respondit1 referam3 quia me vestigia terrent ,omnia te adversum spectantia1 nulla retrorsum4 ,horatii ,flacci ,epistolarum1 #a4 i4 ,it is thus imitated by ,pope3-- ,faith ,i shall give the answer ,reynard gave2 ,i cannot like1 dread ,sir1 your royal cave2 ,because ,i see1 by all the tracks about1 ,full many a beast goes in1 but none comes out4 #fb ,among the more recent acquaintances of ,fuseli1 there was no one for whom he entertained a higher regard than for ,mr4 ,samuel ,cartwright2 he has said to me1 ,cartwright is a friendly1 liberal man1 and has the mind of a gentleman4 #fc ,at this time1 his age could not be accurately ascertained3 he was in his eighty-fifth year1 having completed his eighty-fourth on the #gth of ,february preceding his death4 #fd ,at this time1 his age could not be accurately ascertained3 he was in his eighty-fifth year1 having completed his eighty-fourth on the #gth of ,february preceding his death4 #fe ,fuseli made this remark in reference to the capital employed1 and the encouragement given to the ,slave ,trade by some of the merchants of ,liverpool1 and the consequent wealth which was derived by many from this traffic4 ,every one who is acquainted with the parliamentary history of this country knows the arduous struggle made for its abolition1 and the part which ,mr4 ,roscoe took1 when member of parliament for ,liverpool1 to effect this measure4 ,in these efforts he was cordially joined by many of his intelligent and liberal townsmen4 #ff ,this and other remarks on the pictures of ,sir ,joshua ,reynolds1 were written at ,hastings1 in the year #ahac1 shortly after the first exhibition of ,sir ,joshua's works at the ,british ,institution1 and sent thence by ,fuseli in letters to ,sir ,thomas ,lawrence4 #fg ,the passage is thus rendered by ,cowper3 ,my temper1 ,sir1 inclines not me t' extol ,or to depreciate much1 or much admire1-- ,full well ,i recollect thee as thou wert4 #fh ,first part of ,shakspeare's ,king ,henry the ,fourth1 ,act #crd4 #fi ,these statues1 which have been named ,castor and ,pollux by some1 7and by an absurd anachronism1 ,alexander1 by others17 were considered by ,fuseli to be the work of ,phidias1 and designed for a monument4 ,he was of opinion that they are duplicate figures2 and the subject1 ,achilles curbing and addressing his steed1 and astonished at the answer of his prophetic courser4 #gj ,this picture is lost3 his celebrated work of ,sin pursued by ,death1 being painted over it4 ,on this canvass there are no less than three finished pictures4 #ga ,darwin4 #gb ,see ,pilkington's ,dictionary1 by ,fuseli1 second edition1 page #aia4 #gc ,they are now the property of the ,countess of ,guilford4 #gd ,this character of ,fuseli was written a short time previously to his death4 #ge ,dante4 #gf ,ibid4 ,,end ,,of ,,the ,,first ,,volume4 ,,london3 ,,printed ,,by ,,samuel ,,bentley1 ,dorset ,street1 ,fleet ,street4 99 99 99 99 99 ,,transcriber',s ,,notes #a4 ,accents and breathings in the ,greek quotations have been left unchanged 7both are included somewhat at random74 ,the one exception is the rough breathing before ,andrasi in footnote #ag1 which should be a smooth breathing1 and has been corrected4 #b4 ,obvious typos have been silently corrected4 #c4 ,alternative spellings have been left unchanged4 ,this includes words in poetry such as ravish'd for ravished1 words sometimes hyphenated1 and the various spellings of painters' names 7there are at least four different spellings of ,michelangelo1 and three of chiar'oscuro1 for example74 #d4 ,chapter headings 7in chapters ,,ii1 ,,viii1 ,,xiii and ,,xv7 vary slightly from the wording of the ,table of ,contents4 ,these variants have been left unchanged1 with one exception3 the date #agjc in the heading for ,chapter ,,ii has been corrected to #agfc4 #e4 ,words in italics are marked like this4 #f4 ,the position of the apostrophe in ,italian quotations varies1 but no changes have been made4