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Memoir of Henry Fuseli, Esq. R.A.

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and, on presenting it, Lavater said, “Hang that up in your bed-room, and I know what will be the result."

of Fuseli and Lavater. A magistrate in one of the bailiwicks of Zurich, had rendered himself odious within his district by several acts of oppression and extortion. It was about the year 1763, and before But though many felt indignation, none he had reached that which is commonly dared to impeach the village tyrant, espe- called the age of maturity, that our young cially as he was nearly related to the adventurer entered the British metropolis. burgomaster of Zurich. Fuseli and Lava- His first lodging was in Cranbourn Alley, ter took up the matter, by sending an and on taking up his residence there, he anonymous letter of remonstrance to the burst into tears, occasioned by the reflecmagistrate. Finding that this made no tion that he was not only a stranger in the impression, they next printed a small pam- | place, but inexperienced in the world. phlet, entitled, "The Unjust Magistrate; A trifling incident that occurred at the or, the Complaint of a Patriot;" copies of same time, served also to depress his which were distributed among the mem- | spirits, and which, in after life, he often bers of the municipal government. The used to relate with much feeling. Having affair was, in consequence, brought under on his arrival written a letter to his mother, the consideration of the council, who began he sallied forth to put it into the postby calling upon the authors of the tract to office; but on asking his way of a man declare themselves. Lavater and his friend whom he met in the street, he was immediately came forward, and not only answered with a laugh and a vulgar joke. avowed what they had done, but offered This treatment quite disconcerted him, till to substantiate the charge by evidence. he was relieved by a gentleman who witAn inquiry then took place, but the magis- nessed the circumstance, and kindly directed trate eluded punishment by absconding; Mr. Fuseli to the place of which he was in and his effects were seized for the benefit of those who had suffered by his rapacity.

This generous conduct, instead of meet ing with the reward which it merited, created enemies to these two noble-minded young men, who were, in consequence, under the necessity of quitting Zurich for some time. Previous to their departure, they completed their degrees in arts at the college; and then proceeded to Vienna; from whence they repaired to Berlin, as more suited to their principles and genius. Here they both placed themselves under the learned professor Sulzer, the wellknown author of a lexicon on the fine arts. The talent of Fuseli did not escape the observation of this able teacher, who, finding him already conversant with the English language, which he had studied so well as to read Shakspeare with ease, resolved to engage him in his favourite scheme of opening a literary intercourse between Germany and Britain. Besides this peculiar fitness for such an undertaking, Mr. Fuseli had distinguished himself at the Prussian capital by several drawings of scenes in Shakspeare's Macbeth and Lear, which procured him the friendship of Sir Robert Smith, the English ambassador, who strongly recommended him to visit London. This invitation he gladly accepted, and on parting with Lavater, he received from him a piece of paper, on which was written in German, "Do but the tenth part of what you can do." This laconic monition was framed,

search.

He did not, however, remain long in this situation. Having brought letters of recommendation from Sir Robert Smith, to Mr. Coutts the banker, and to Mr. Johnson and Mr. Cadell the booksellers, he was received by those gentlemen with the greatest cordiality. Through their interest, he also soon after obtained the situation of tutor to the son of a nobleman, with whom he went to Paris. Such was his profil ciency in English composition at this period, that in 1765, he published "Reflections on the Paintings and Sculpture of the Greeks, with Instructions for the Connoisseur; and an Essay on Grace in Works of Art; translated from the German of the Abbé Winckelmann."

About the same time happened the extraordinary dispute between Rousseau and Hume, in which the Genevan philosopher rendered himself an object of general ridicule by his extravagant conduct. Voltaire, on this occasion, assailed poor Jean Jacques with as much spleen as wit; in consequence of which, Mr. Fuseli undertook the defence of the latter, but anonymously; and soon after the pamphlet was suppressed and destroyed, nor could the author ever endure to hear it men

tioned.

Mr. Fuseli had not been long in England before he was introduced to Sir Joshua Reynolds. On shewing some of his drawings to that great man, Sir Joshua asked him how long since he had returned from Italy. Greatly, therefore, was he surprised

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Memoir of Henry Fuseli, Esq. R.A.

when told by Mr. Fuseli that he had never passed the Alps. Sir Joshua then kindly inquired into his circumstances and pros. pects. Being informed that his friends were adverse to his pursuing painting as a profession, and wished him to take orders, Sir Joshua said, "Young man, were I the author of those drawings, and were offered ten thousand a year not to practise as an artist, I would reject the proposal with contempt." This sentiment at once decided the judgment of Fuseli, and he no longer hesitated in the line that he should adopt.

Having made up his mind to become a painter, he resolved to visit Italy. Accordingly, in the year 1770, he, together with his friend Dr. Armstrong the poet, embarked for Leghorn; but in the voyage, the vessel was driven ashore at Genoa, from whence the travellers proceeded by land to Rome. Here the young artist was in his element; but though the works of Raffaelle engaged much of his attention, and excited his admiration, those of Michael Angelo, the early object of his adoration, employed most of his study. From them he imbibed that spirit of daring grandeur, and romance of invention, which distinguished him through life, and placed him at the head of his class. At this time so firm and bold was his pencil, that Piranesi, on seeing him sketch a figure, exclaimed, "This is not designing, but building a man."

During his residence in Italy, Mr. Fuseli kept a journal, the manuscript of which is still in being, and would, if published, prove highly interesting, especially to the lovers of the fine arts. He here also drew several designs, and painted some glowing pictures, chiefly on subjects in the works of Shakspeare and Milton. While abroad, he contracted an intimacy with several Englishmen of rank, particularly Lord Rivers, who proved his steady friend through life. He also associated with young artists of the same country, and amongst the rest, with Northcote, who painted his portrait at Rome.

After residing eight years abroad, he turned his attention towards England, whither he was urgently called by a number of persons, who admired his genius, and wished to see it employed to advantage. Having taken Zurich in his way, and continued about six weeks with his friends, he bent his course to London, where he arrived in 1779. The first picture he exhibited at the Royal Academy, after his return, was the "Night Mare," which at once stamped his reputation,

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and elicited universal applause. This exquisite production was sold for no more than twenty-five guineas to the late John Raphael Smith, who gained above five hundred by an engraving of it.

It has been said, but erroneously, that Mr. Fuseli, while at Rome, projected the scheme of the Shakspeare gallery, which was subsequently carried into effect by Alderman Boydell. That undertaking, however, originated with the late Mr. George Nicol, bookseller to the king, who, at the table of Mr. Josiah Boydell, mentioned Shakspeare as furnishing the most copious supply of subjects for historic painting. The hint was not lost, and among the artists employed was Mr. Fuseli, who painted eight fine pictures for the work, from the plays of the "Tempest," the "Midsummer Night's Dream," Macbeth," Henry IV." "Henry V." Lear," " and "Hamlet." The last was by far the best of these performances. The subject is that of the ghost on the platform; and of the illusory effect of the picture a curious circumstance is related. A celebrated metaphysician having been admitted to a private inspection of the gallery before its being opened to public view, first paid his attention to the pictures opposite to the side where Fuseli's Hamlet hung; but, on turning his head in that direction, he started, and with an expression of terror exclaimed, "Lord, have mercy upon me, what is that?"

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In 1788, Mr. Fuseli was elected an associate of the Royal Academy; and on the 10th of February, 1790, he obtained the higher distinction of academician.

Between that year and 1800, he produced his "Milton Gallery," being a series of forty-seven pictures taken from the greater works of the English epic poet. These representations were severely criticized at the time of their exhibition, and even the most enthusiastic admirer of the artist could not but allow that he had suffered his imagination to run into extravagance. As a speculation, the Milton gallery disappointed the painter and the public. In a few months the exhibition closed finally, and the pictures passed into the hands of different persons.

On the removal of the eccentric Barry from the preceptorial chair of the Royal Academy in 1799, Mr. Fuseli was appointed to that honourable station. Though in former cases he had evinced an uncommon facility in literary composition, he was now remarkably slow in preparing his lectures, the first of which, on ancient art, was delivered at Somerset House, in

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Memoir of Henry Fuseli, Esq. R.A.

March, 1801, and was followed by two others, one on modern art, and another on invention. These were printed in the course of the same year, with a dedication to that eminent patron of the arts William Locke, esq., of Norbury Park, in the county of Surrey.

Mr. Fuseli having held the office of professor of painting until the year 1804, was appointed, on the death of Mr. Wilton, Keeper of the Royal Academy; but as there was a standing law, that no member should enjoy two offices in the institution at the same time, he resigned the professorship. However, on the death of Mr. Tresham, in 1810, he was unanimously re-elected; and the royal academicians repealed the law, in order to enable him to retain both situations. In consequence of this, he delivered three additional lectures; the first on the resumed subject of invention; the second on composition and expression; and the third on chiaro-oscura; but they were not published till the year 1820.

In these lectures, after giving a characteristic sketch of various writers on art, ancient and modern, Mr. Fuseli thus neatly compliments the excellent Reynolds.

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One of his earliest friends in England was the celebrated Horace Walpole, afterwards Earl of Orford; for whose patronage he was indebted to the ingenious Cipriani. That artist was a favourite of Mr. Walpole's, who employed him in many works which adorn the elegant villa of Strawberry Hill. Mr. Walpole desired to have a picture of Hero and Leander; but Cipriani said it was a subject that did not suit him, though he knew a young and aspiring artist who could execute it better than any man in England. This excited the curiosity of Mr. Walpole; and Mr. Fuseli, on being introduced to him, completely gained his esteem and admiration. The picture was painted, as well as several others, which no doubt are still in the possession of the noble family.

The oldest and most attached of Mr. Fuseli's friends was the late worthy Joseph Johnson of St. Paul's Churchyard, at whose hospitable table he was a frequent and welcome guest. Indeed so much was his company valued, that whenever there happened to be a party at Mr. Johnson's, and Mr. Fuseli did not appear to enliven the circle, it was considered a blank day. "Of English critics whose writings pre- His conversation was always pleasant, and ceded the present century, whether we con- he was particularly happy in repartee. He sider solidity of theory, or practical useful- also possessed strong argumentative powers; ness, the last is undoubtedly the first. To but he was a determined enemy to all compare Reynolds with his predecessors lengthened debates. Whenever he diswould equally disgrace our judgment, and covered that he had taken the wrong side impeach our gratitude. His volumes can of the question, he would escape from the never be consulted without profit, and dilemma, not abruptly or sharply, much less should never be quitted by the student's with pertinacious rudeness; but with a hand, but to embody by exercise the pre-good-humoured witticism. His sallies of cepts he gives, and the means he points

out."

In the short interval of peace, after the treaty of Amiens, Mr. Fuseli went over to Paris, where, however, he staid only six weeks, owing to the unsettled state of affairs, and the gloomy aspect of the political hemisphere. During his residence there, he paid a minute attention to the interesting collection at the Louvre. Of those inestimable works of ancient and modern genius, he conceived the idea of writing a critical account; but the rekindling of the flames of war put an end to the design, and the ultimate restoration of those valuable productions to their original owners prevented its renewal.

In 1805, Mr. Fuseli was judiciously employed by the London booksellers in revising and continuing the Dictionary of Painters by Pilkington, which work he considerably improved and enlarged by articles from his father's biographical works on the Swiss and German artists.

this kind were extremely felicitous; but though he was a complete master of the English language in its grammatical purity, he never could get rid of his foreign accent, which sometimes gave a ludicrous effect to his facetious discourse; especially when set off by a vehement, and often a grotesque mode of gesture and action.

At one time, when dining with Mr. Johnson, a gentleman called to him from a distant part of the room, "Mr. Fuseli, I lately purchased a picture of yours." "Did you," says Fuseli; "what is the subject?" "I really don't know," answered the gentleman. "That's odd enough," said the painter; "you must be a strange fellow, to buy a picture without knowing the subject." At this the other being nettled, retorted, "I don't know what the devil it is." Mr. Fuseli, "Perhaps it is the devil, I have often painted him." The Gentleman, "Perhaps it is." Fuseli, "Well, then, you have him now? take care that he does not one day have you."

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Memoir of Henry Fuseli, Esq. R.A.

During the exhibition of his Milton gallery, a well-dressed stranger came up, and this laconic conversation took place. "These pictures, sir, are from Milton?" "They are so.' "Milton wrote Paradise Lost?" "He did." "I never read it; but now I will." "You had better not; it will be a very tough job."

When Fuseli lived in Berner-street, two of his fellow academicians, who were not only remarkable for talent, but for slovenliness; called upon business connected with the institution to which they belonged. On the subject of their mission a disagreement arose, and the discussion, which commenced above stairs, did not terminate at the street door. Fuseli was all impatience, and at last, with an indirect allusion to their mean appearance, exclaimed, "Come, go away, go away, I don't wish my neighbours to think I have bombailiffs about me."

He had a great dislike to common-place conversation. After sitting in silence one day while some idlers were in eager chat about the weather, and other important points, Fuseli started up, and said, "We have had pork for dinner to-day." The company stared, and one of them exclaimed, "Dear me, Mr. Fuseli, what an odd remark." "Not at all," replied he, "it is as good and pertinent as any thing that has been said here for an hour."

Though occasionally irritable, his violence soon subsided, and the natural affability of his temper obliterated the disagreeable impression produced by the fit of exacerbation.

An eminent engraver who is remarkably deaf, tapped one day at the painting room door. "Come in," said Fuseli; but in too low a tone to be audible. Another tap followed. "Come in," again said the painter, with his voice a little raised; but not so as to be heard by the visitor. A third tap: "Come in," roared Fuseli with the lungs of a stentor, accompanying the call with an expression not strictly classical. The astonished Mr. Landseer then entered the lion's den; but as soon as discovered, a hearty laugh and cordial welcome apologized for the seeming rudeness.

Fuseli was sometimes very strong in describing characters. Speaking once of a contemporary artist, whose morals were not the most correct, and the subjects of whose pencil evinced a corresponding taste, Mr. Fuseli said, "He paints nothing but thieves and murderers, and when he wants a model, he looks in the glass."

The scholarship of Fuseli was deep and extensive. The Latin language he wrote

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with grammatical elegance, and in Greek he was perfectly at home. It formed indeed his amusement, and he even composed Greek verses extemporaneously. Being once in company with Porson, he threw off four or five sonorous lines, and then asked to what author they belonged. "I really do not know," answered Porson, after a short pause. Upon this Fuseli burst into a laugh, and said, "It would be a wonder if you should; for I composed them myself on the spur of the moment."

"When Mr. Cowper was preparing his translation of the Iliad for the press, Fuseli having seen the prospectus of the work on Mr. Johnson's table, made some observations upon it, which being reported to the author, struck him so forcibly, that he requested the assistance of the critic in the revision and correction of his manuscript. The request was complied with, and in a letter of the poet to his friend Mr. Unwin, dated March 13, 1786, he says,

"I have put my book into the hands of the most extraordinary critic that I have ever heard of. He is a Swiss; has an accurate knowledge of English; and for his knowledge of Homer, has, I verily believe, no fellow. Johnson recommended him to me. I am to send him the quires as fast as I finish them off, and the first is now in his hands."

Again, in a letter to his bookseller, dated February 11, 1790, Cowper says, "I am very sensibly obliged by the remarks of Mr. Fuseli, and beg that you will tell him so; they afford me opportunities of improvement, which I shall not neglect."

On the appearance of this translation in public, Mr. Fuseli gave an excellent critique upon it in the Analytical Review, to which periodical work he was a frequent contributor. Cowper, in a letter to Mr. Samuel Rose, says, "I have read the critique of my work in the Analytical Review, and am happy to have fallen into the hands of a critic, rigorous enough indeed, but a scholar, and a man of sense; and who does not deliberately intend me mischief. I am better pleased, indeed, that he censures some things, than I should have been with unmixed commendation; for his censure will accredit his praise. In his particular remarks he is for the most part right, and I shall be the better for them; but in his general ones, I think he asserts too largely, and more than he could prove."

From this it is evident that the amiable poet was not indifferent to the opinion of critics; and it is also as clear, that he was

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Memoir of Henry Fuseli, Esq. R.A.

not acquainted with the name of his reviewer.

Mr. Fuseli, besides his knowledge of the classical languages of antiquity, had a general acquaintance with the principal modern tongues. He wrote French correctly, and spoke it fluently. The Italian he understood perfectly; of the Spanish he knew enough to read the best writers of that nation; and with the Dutch he was familiar. His memory was remarkably tenacious; he used to say, that the application of six weeks was enough to enable a man to grapple with the elements of any language. He never felt himself at a loss in quoting a classic author: and he could always tell the part of the work in which the passage was to be found. Shakspeare, Milton, and Dante were his favourites; and all of them have been illustrated by his magic pencil.

As a writer, he appeared to advantage in a variety of works, some with, but more without his name.

When Dr. Hunter published his splendid translation of Lavater's Physiognomy, he derived great assistance from Mr. Fuseli, who wrote the Preface to the work, in which he sketched a striking character of his early friend. Lavater afterwards dedicated his little volume of "Aphorisms on Man," to Henry Fuseli, in the following affectionate terms:

"Take, dear observer of men, from the hand of your unbiassed friend, this testimony of esteem for your genius. All the world knows that this is no flattery; for on a hundred things I am not of your opinion; but in what concerns the knowledge of mankind, we are nearer to one another than any two in ten thousand. What I give here is the result of long experience, matured and confirmed by various and daily application. It will be found, I hope, a useful book for every class of men, from the throne to the cottage. All of it cannot be new; but all of it ought to be true, useful, important; and much, I trust, is new and individual. I give you liberty, not only to make improvements, but to omit what you think false or unimportant." This was said in reference to an English translation of the book which Lavater was desirous to have executed, and which Fuseli accordingly published.

One of the oldest professional friends of Mr. Fuseli, was Sir Thomas Lawrence; and such was the congeniality of mind between them, that when the Milton gallery was projected, it was intended that the execution should be their joint concern and labour. For some reason or other, this

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intention was dropped, and Mr. Fuseli embarked alone in the enterprise. The following anecdote, however, shows the close friendship which subsisted between these two estimable characters.

Mr. Fuseli happening to express his admiration of two original drawings of Raffaelle, in the collection of Sir Thomas, the latter sent them to him the next day with a request that he would accept them as a small testimony of respect and regard. Mr. Fuseli, in return, declared that he would consent only to hold such valuable treasures in trust, and on condition that they should at his death return to the donor.

After the lapse of a few years, when the cabinet of Sir Thomas became farther enriched by the drawings of Michael Angelo, Raffaelle, Corregio, and other great masters, Mr. Fuseli insisted upon restoring the two pieces, remarking, that it was a pity to separate them from their legitimate connexions. On the death of Fuseli, the president of the Royal Academy purchased at a liberal price the extensive collection of his friend's drawings.

As professor and keeper of the academy, Mr. Fuseli gave such satisfaction, that the students, some years before his demise, presented him with a handsome silver vase, executed by Messrs. Rundell and Bridge, from a design by Mr. Flaxman; a token of respect which greatly affected his sensibility.

Besides this testimonial of approbation, he was also gratified, in 1817, by receiving from the academy of St. Luke at Rome, the diploma of the first class; an honourable degree of distinction, never conferred but on artists of the highest order.

This indefatigable man continued his professional pursuits to the last week of his life. The picture which was on his easel at the time of his death, and very nearly finished, was the scene of "Constance" in Shakspeare's play of King John.

He left, however, above sixty pictures, most of which were in a finished state, and the rest in different stages of advancement; for it was his frequent practice, when he had completed the composition, and given it some expression and a little effect, to set it aside, and engage in another subject. It may be worth remarking, that he painted with his left hand.

During his long life, he enjoyed for the most part excellent bodily health, and an uncommon elasticity of animal spirits. His only complaint was an occasional tendency to water in the chest, for which he

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