FOOTNOTES:

Last night I sunk to sleep's soft power resign'd,When wizard Fancy's wand, before my mind,Conjur'd in dreams a visionary shew,That seem'd with vivid Truth's warm tints to glow.By young Favonius' fragrant pinions fann'd,5Amidst Elysian groves I seem'd to stand;Here, when th' immortal spirit quits its clay,The sons of Genius dwell in endless day:Not they who empires founded, or o'erthrew,Who conquer'd worlds, or who discover'd new;10Not Philip's headlong son, not Scipio's foe,Nor Julius, guilty of his country's woe;In these fair fields the scourges of mankindReap'd not the meed to virtuous fame assign'd.Here Music sweeps her lyre; her heav'nly lay15The Passions hear, enraptur'd, and obey:Here dwells th' immortal Virgin Poesy,A noble wildness flashing in her eye;Inspired Bards around the Goddess throng,And catch the accents flowing from her tongue.20Entranced, whilst gazing on the blissful scene,I mark'd a Deity of matchless mien,Her port majestic, in each motion grace,Fairer she shone than nymphs of mortal race:I recognis'd the Sov'reign of that art,25Which through the eye finds entrance to the heart;Plac'd on an eminence, she sat alone,Below her vot'ries press'd around her throne.Great Vinci first, with greater Angelo,Sublime expression frowning on his brow,30Led on the daring Tuscan band severe:Next Raphael with calm dignity drew near,Who join'd to grand conception just design,Conducting the majestic Roman line;Then Titian with a gay and brilliant throng,35Sprung from the sea-born city, mov'd along;Corregio in succession next pass'd by,Leading the graceful School of Lombardy.A genius vast, original, and bold,The numerous band of Holland's sons controll'd;40And with his Flemish train, of pomp profuse,The gorgeous Rubens dazzled e'en the Muse.In order due arranged on either hand,Beside the silent Queen they take their stand;Before whose throne Helvetia stood, to claim45For an aspiring votary of FameAdmittance to these realms:—"O Muse," she cried,"The Master's works contemplate, and decide."While speaking thus, her wand on high she rear'd,And lo! a train of pictur'd groups appear'd;50Heroic phantoms seem'd to start from night,And forms of beauty floated 'fore my sight;From ages past reflected scenes arose,Of human passions, and eternal woes.There I beheld pourtray'd the lofty story55Of Man's first fall, and Satan's tarnish'd glory.There rose the spectre Prophet from the tomb,To Saul announcing his impending doom.Of Ilion's tale a vision seem'd to speak,And the long wand'rings of the prudent Greek.60There Eriphyle bleeds upon the ground,While Furies fly t' avenge the impious wound.In horror plunged, deplor'd Jocasta's sonThe fated crimes he strove in vain to shun.Here stalk'd the shadow of the murder'd Dane;65Appall'd, methought I saw th' astonish'd ThaneHail'd by each wither'd hag;—From Helle's tideTh' enamour'd youth rush'd to his Sestian bride.There, lost to hope, the lovers mourn for ever!Whom not th' infernal whirlwind's rage can sever.70The traitor Guelph, too, 'midst his famish'd brood,Expects in Death th' eternal feast of blood.In knightly guise th' heroic Virgin's armRedeems fair Amoret from magic charm:And Arthur slept; who woke but to deplore75The Beauty lov'd for ever, seen no more.On the aërial portraiture, amaz'd,In pleasing wonder lost, intent I gaz'd;As Sorrow, Guilt, Despair, the scenes express'd,Awe, Terror, Pity, sway'd by turns my breast;80When, suddenly, I saw the heaven-born MaidOf sacred numbers, from a neighbouring glade,'Midst the great masters of immortal song,Toward the throne of Painting move along.Now blind no more Mæonides, and he,85The daring Bard of Man's apostasy,With buskin'd Sophocles, and lofty Gray,Spenser, sweet master of the moral lay;Severely grand, the Florentine sublime,And Avon's Bard, unmatch'd by age or clime,90All crowd the visionary scenes t' admire,Pleas'd that such scenes their genius could inspire.While onward the poetic Virgin press'd,And her who reign'd o'er Painting, thus address'd:—"O Muse! who charmest silently, attend95To Poesy, thy Sister, and thy friend.No vot'ry of that art o'er which you reign,The nobler walks could ever yet attain,Unless I urged him proudly to aspire,And kindled in his breast poetic fire.100Belgia, without my aid, may tint the sceneWith golden hues, and mimic Nature's green;Immortalize the Peasant and his can,Without selection, imitating Man;Or through transparent veins life's tide may gush,105Tinging Venetian canvass with the blushOf glowing Nature; uninspir'd by me,The Rose of Merian may deceive the bee;At Rembrandt's touch the shining robe may flow,The diamond sparkle, or the ruby glow;110But he whom I inspire disdains such praise;The soul's emotions, ardent, he displays;Fearless he wields Invention's magic wand,Sprites, fays, and spectres rise at his command;Unveil'd, the Passions at his will appear,115E'en Heavenly essences he dares t' unsphere;As, from Promethean touch each image glows,And what the Poet thought the Painter shews.While 'midst Helvetia's native hills, beforeThis foster-son of Britain sought her shore,120I mark'd the future promise in the child;The fire of genius, vigorous, and wild,Sparkled in infancy, in manhood blaz'd;You won his youthful fancy, as he gaz'd,Th' enthusiast strove your favour to attain,125And I propitious, smil'd, and pointed to your Fane.On Leban's brow the cedar tow'ring highBoasts not the lowly flow'ret's gaudy dye;Others may in the humbler parts excel,But, Queen, did ever artist think so well?130Is not the highest merit of your art,T' exalt the fancy, and to touch the heart?Then welcome the poetic Painter, Muse,Nor to my fav'rite deathless fame refuse!"She ceased; nor vainly pled the Heavenly fair;135Th' assenting Muse approv'd her sister's prayer:"Enter these realms," she cried; "th' award be thine,Amidst the sons of Genius here to shine,Where Envy's tongue no longer shall prevail:Hail Fuseli! Immortal artist, hail!"140Resounding acclamations, as she spoke,Burst on my ear, I started, and awoke.

FOOTNOTES:[1]Those who may be curious to see Fuseli's early style in German, may consult the Life of Chevalier Hudlinger, in the preface to the translation of "Mengs' thoughts on Beauty;" and also a letter "from Switzerland to Winkelmann;" both of which were written by him without alteration, although they bear his father's signature.[2]At this time, Rösel's "Insects' Banquet" was his favourite study.[3]The public are indebted for many of the particulars of Fuseli's early life to this gentleman, who died in 1816, and was a canon of Zurich.[4]Fuseli ever considered Richardson a man of great genius, and one who had a key to the human heart, and was very indignant, in the latter period of his life, with a gentleman who spoke contemptuously of Clarissa Harlowe. This person said in his presence, "No one now reads the works of Richardson." "Do they not?" said Fuseli, "then by G—d they ought. If people are now tired of old novels, I should be glad to know your criterion of books. If Richardson is old, Homer is obsolete. Clarissa, to me, is pathetic—is exquisite; I never read it without crying like a child."[5]"The Frank Intelligencer."[6]The late Mr. Henry Füessli, of Zurich, from whom the writer has received much information. Just as this Memoir was completed, this gentleman closed his mortal career. He died on the 1st of May, 1829, in his seventy-fifth year. Mr. Füessli was a landscape painter, and held the honourable situation of President of the Society of Artists at Zurich. He had been labouring for some years under occasional attacks of asthma, and died therefrom much regretted.[7]Mrs. Fuseli died at Zurich, 11 April, 1759, aged 44 years. She was a woman of a most amiable disposition, and respected by all who knew her.[8]"Do but the seventh part of what thou canst."[9]This charter, however, was never granted; the artists received the patronage of the King, and were by his command associated under the title of "The Royal Academy." Among its early members we find the names of Sir Joshua Reynolds, Gainsborough, and Wilson, who for talent in the several departments of the art in which they practised, have rendered their names immortal.[10]Fuseli wrote in pencil, under this figure, "Fuseli amor mio."—Mr. Ottley saw this still remaining in the year 1792, when he was at Bologna, and added "anche amor mio."—W. Y. Ottley.[11]This was a satirical drawing of the Painters in England at that time.[12]Doctor Armstrong died in September 1779.[13]Mr. Füessli died at Zurich the 6th of May, 1781.[14]I beg here to acknowledge my gratitude to Mr. Roscoe for having allowed me to peruse the letters which he had received from Fuseli during a period of more than forty years, from which I have gleaned much useful information, and have only to regret, I am sure, in common with every reader of this memoir, that he did not accede to my wishes of being the biographer of his friend.[15]The omissions in this and the succeeding letter, where asterisks are placed, relate only to the names of subscribers to the translation of Homer.[16]Samuel Johnson.[17]Ἀνδρασι πυγμαιοισι φονον καὶ κηρα φερουσαι·Iliad, iii. v. 6.[18]Των αυθ' Ὑρτακιδης ηρχ' Ἀσιος, ὀρχαμος ἀνδρωνἈσιος Ὑρτακιδης.——Iliad, ii. v. 837-8.[19]Iliad, v. v. 722-31.[20]Iliad, xi. v. 15, seq. Conf. Iliad, ii. v. 42, seq.[21]Iliad, xiv. v. 170, seq.[22]Iliad, xviii. v. 478-607.[23]Iliad, iv. v. 105-111.[24]Iliad, ii. v. 101-8.[25]Clarke, who has preserved this name in his marginal version, contends strenuously, and with great reason, that Outis ought not to be translated; and in a passage which he quotes from theActa Eruditorum, we see much fault found with Giphanius and other interpreters of Homer, for having translated it. It is certain that, in Homer, the word is declined, not asουτις -τινος, which signifies no man, but asουτις -τιδος, makingουτινin the accusative, consequently, as a proper name. It is sufficient that the ambiguity was such as to deceive the friends of the Cyclops.Outisis said by some (perhaps absurdly) to have been a name given to Ulysses, on account of his having larger ears than common.[26]'Outis as aname, could only denote him who bore it; but as anoun, it signifies,no man, which accounts sufficiently for the ludicrous mistake of his brethren.'[27]Vos, the admirable translator of the Odyss. in German hexameters, well aware that the question here lay not between grammar and licence, puerility of conceit, or dignity of fiction, but between sense and nonsense, without deigning to notice the contest of commentators, has renderedουτις, by "Niemand," in the first instance, and afterwards varies it with "Keiner.""Niemand ist mein Name; denn Niemand nennen mich alle.Niemand würgt mich, ihr Freund', arglistig! und Keiner gewaltsam!Wenn dir denn keiner gewalt anthut."—[28]The first, inΠΥΘ. A. v. 28.γαν τε και ποντον κατ' ἀμαιμακετονThe second, inΠΥΘ. P. v. 57-8.Πεμψε κασιγνηταν μενει;Θυοισαν ἀμαιμακετῳ·where the scholiast explains it byἀκαταμαχητος, and the notes deduce it from a compound of the Aἐπιτατικηandμαιμαω: a derivation more probable than that of our translator fromἁμα, and the Doricμακος; unless we suppose that Homer made use for his substantives, of the Ionic, and for his compound adjectives, of the Doric dialects![29]Plin. L. xxxiii. c. 4. 'Electro auctoritas, Homero teste qui Menelai regiam, auro, electro, argento, ebore fulgere tradit.' Helen, he continues, consecrated a cup of electrum at Lindos, 'mammæ suæ mensura,' and adds, 'electri natura ad lucernarum lumina clarius argento splendere.'[30]Την δε μετ' Ἀλκμηνην ἸΔΟΝ——Και Μεγαρην(sc.ΙΔΟΝ)κρειοντος ὑπερθυμοιο θυγατραΤην εχεν Αμφιτρυωνος ὑιος.——[31]Bayle is mistaken in supposing that the marriage of Lorenzo took place in 1471. Speaking of Machiavelli, he says,Il ne marque pas l'année de ce mariage, ce qui est un grand défaut dans un écrivain d'histoire; mais on peut recueillir de sa narration que ce fut l'an 1471.Dict. Hist. art. Politien.In correcting Bayle, Menckenius falls into a greater error, and places this event in 1472.Menk. in vitâ Pol.p. 48.[32]'How grateful to our sensations, how distinct to our imagination appear the"Speluncæ, vivique lacus, ac frigida Tempe,Mugitusque boûm, mollesque sub arbore somni."'[33]'Published for the first time at the close of the present work.'[34]If Virgil has given us a highly-finished personification of Rumour, if Horace speaks of hisatra Cura, if Lucretius present us with an awful picture of Superstition, their portraits are so vague as scarcely to communicate any discriminate idea, and are characterized by their operation and effects, rather than by their poetical insignia. Of the ancient Roman authors, perhaps there is no one that abounds in these personifications more than the tragedian Seneca; yet what idea do we form of Labour, when we are told that"Labor exoritur durus, et omnesAgitat curas, aperitque domos:"'Or, of Hope or Fear, from the following passage:"Turbine magni, spes solicitæUrbibus errant, trepidique metus."'The personification of Hope, by Tibullus, (Lib. II. Eleg. 6.) is scarcely worthy of that charming author; and if he has been happier in his description of Sleep, (Lib. I. Eleg. 1.) it is still liable to the objections before mentioned.'[35]'It is commonly understood that the idea of a systematic arrangement, for securing to states, within the same sphere of political action, the possession of their respective territories, and the continuance of existing rights, is of modern origin, having arisen among the Italian States, in the fifteenth century.Robertson's Hist. of Ch. V.v. i. sec. 2.—But Mr. Hume has attempted to shew that this system, if not theoretically understood, was at least practically adopted by the ancient states of Greece, and the neighbouring governments.Essays, v. 1.part 2.Essay 7.—In adjusting the extent to which these opinions may be adopted, there is no great difficulty. Wherever mankind have formed themselves into societies, (and history affords no instance of their being found in any other,) the conduct of a tribe, or a nation, has been marked by a general will: and states, like individuals, have had their antipathies and predilections, their jealousies, and their fears. The powerful have endeavoured to oppress the weak, and the weak have sought refuge from the powerful, in their mutual union. Notwithstanding the great degree of civilization that obtained among the Grecian States, their political conduct seems to have been directed upon no higher principle: conquests were pursued as opportunity offered, and precautions for safety were delayed till the hour of danger arrived. The preponderating mass of the Roman Republic attracted into it's vortex whatever was opposed to it's influence: and the violent commotions of the middle ages, by which that immense body was again broken into new forms, and impelled in vague and eccentric directions, postponed to a late period the possibility of regulated action. The transactions in Italy, during the fourteenth and fifteenth centuries, bear indeed a strong resemblance to those which took place among the Grecian States: but it was not till nearly the close of the latter century that a system of general security and pacification was clearly developed, and precautions taken for insuring its continuance. Simple as this idea may now appear, yet it must be considered, that, before the adoption of it, the minds of men, and consequently the maxims of states, must have undergone an important change: views of aggrandizement were to be repressed; war was to be prosecuted, not for the purpose of conquest, but of security; and, above all, an eye was to be found that could discern, and a mind that could comprehend, so extended an object.'[36]'Objects of horror and disgust, the cold detail of deliberate barbarity, can never be proper subjects of art, because they exclude the efforts of genius. Even the powers of Shakspeare are annihilated in the butcheries of Titus Andronicus. Yet the reputation of some of the most celebrated Italian painters has been principally founded on this kind of representation. "Ici," says M. Tenhove, "c'est S. Etienne qu'on lapide, et dont je crains que la cervelle ne rejaillisse sur moi; plus loin, c'est S. Barthélémi tout sanglant, tout écorché; je compte ses muscles et ses nerfs. Vingt fleches ont criblé Sebastien. L'horrible tête du Baptiste est dans ce plat. Le gril de S. Laurent sert de pendant à la chaudière de S. Jean. Je recule d'horreur."—Mem. Gen. lib.x. May it not be doubted whether spectacles of this kind, so frequent in places devoted to religious purposes, may not have had a tendency rather to keep alive a spirit of ferocity and resentment, than to inculcate those mild and benevolent principles in which the essence of religion consists?'[37]Our author has given ample opportunities to Mr. Tenhove, a Dutch writer on nearly the same subject with his own, to display a disparity of manner singularly contrasting with his own sober and authentic page. Mr. T. is apparently a wit and a man of feeling, but at all times ready to sacrifice matter to whim, or to substitute assertion for proof: thus, in talking of the celebrated cameo representing the punishment of Marsyas, once the property of Lorenzo, he tells us, that of old it belonged to Nero, who used it as the seal of his death-warrants, and who probably assumed the attitude of the Apollo engraved on it, whilst he assisted at the flogging of one Menedemus, a singer who had excited his jealousy; a tale partly invented, partly perverted from Suetonius, who tells something similar of Caligula and Apelles. In another place, (p. 178, note b.) after ridiculing with somewhat prolix propriety the Florentine custom of substituting, even in grave writing, the nicknames of their countrymen to their real ones, he adds, that it is a custom laughed at and disapproved by the rest of Italian writers, though undoubtedly he had read of Cola di Rienzi, Massaniello, Titta Borghese, Giorgione, Il Tintoretto, Frà Bastiano, and Titian himself. "Pauperis esset numerare pecus."[38]Giorgio Vasari and Ascanio Condivi. Our author, though a patient admirer of the first, is offended at the "insufferable minuteness" of the second. It would be unfair to consider Condivi as the literary competitor of Vasari, yet great respect is to be paid to a narrative composed under the immediate eye of Michaelagnolo himself. His "Otto scudi al mese poco più o meno," whether they reflect much or little honour on the liberality of Lorenzo, have at least a right to rank with the "quattro mazzi, che erano quaranti libbre da candele di sego," which, the knight of Arezzo informs us, he sent as a present to Michaelagnolo. Vasari Vita di M. A. B. tom. vi. p. 328.[39]This lady is called Mrs. Wollstonecraft, instead of Mary Wollstonecraft, throughout this Narrative, in conformity to the memoirs which have hitherto appeared of her.[40]This and subsequent quotations respecting Mrs. Wollstonecraft are taken from her letters to Fuseli.[41]"Memoirs of the Author of a Vindication of the Rights of Woman, by William Godwin."[42]Mrs. Bysshe Shelly.[43]Mr. Meyer was a painter of reputation, both in miniature and enamel.[44]La Terribil Via, applied by Agostino Caracci to Michael Angelo.[45]This alludes to Mr. Fuseli's proposals for a gallery filled with pictures painted by him from subjects taken from Milton's Paradise Lost.[46]This elegant translation, in verse, was published under the title of "The Nurse."[47]Sir Thomas Lawrence, in a discourse which he delivered as President of the Royal Academy, on the 10th December 1823, says, in reference to the Milton Gallery, "the many sublime designs by the great author of this, whose unapproached invention and high attainments enforce this tribute to living genius."[48]For an elucidation of this passage, refer to Suetonius, edit. Burmanni, v. 2. p. 171.[49]A name which Fuseli gave to a sprained knee.[50]This alludes to a contest which occurred on the way to Paris: the "inquisitive traveller," Mr. Farington, was disposed to sleep at St. Juste; the rest of the party desired to push on. Mr. Moore, who had the regulation of the journey, decided the question by ordering out the horses.[51]Fuseli made this observation not only in reference to the physiognomic cast of David's countenance, but his face was also disfigured by a hare-lip.[52]The writer of this saw the picture in the year 1779, and made observations on the spot.[53]In my Lectures.[54]The British Institution was opened for the first exhibition, on the 18th of January, 1806.[55]A name by which he generally designated the amiable and ingenious Tiberius Cavallo, a gentleman well known for his numerous and able works on Natural Philosophy, who was also on a visit to Mr. Rackett at this time: at whose hospitable house he usually passed three or four of the summer months.[56]Mr. Johnson made Cowper a present of one thousand pounds over and above their agreement.[57]The passage is thus translated by Franklin:———-"A dreadful clapOf thunder shook the ground; the virgins trembled,And clinging fearful round their father's knees,Beat their sad breasts and wept."Sophocles Œdipus Coloneus, Act. 5, Scene 1.[58]Professor Bonnycastle was born at Aylesbury, in Buckinghamshire, in January 1752, and died at Woolwich, 15th of May, 1821.[59]While these pages were passing through the press, Europe and the fine arts have been bereaved of the splendid talents of Sir Thomas Lawrence. This gentleman died, after an illness of a few days continuance, on the 7th of January, 1830, in the sixty-first year of his age.Shortly after Sir Thomas's arrival in London, Fuseli saw "the future promise" in the youth, and was therefore gratified in making remarks upon his portraits for his improvement. This kind notice, from a man whom Sir Thomas held in the highest esteem for talents and various acquirements, made a deep impression on his mind: he sought an intimacy with him, which, upon more mature knowledge of the individual, ripened into the closest friendship. The world is now deprived of these two great artists, and there can be no other than feelings of deep regret for their loss. These, however, with regard to myself, are not unmingled with those of satisfaction, when I consider the many happy hours passed in their society, and that this pleasure was enjoyed for more than twenty years.At the death of Mr. West, in the year 1820, Fuseli was among the most forward of the Academicians to propose that his friend, Sir Thomas, who was then on the Continent of Europe, should fill the chair. This honour he felt due to him, not only for his unrivalled powers as a portrait painter, but for the elegance of his mind and the urbanity of his manners. Few men had so pleasing an address; and fewer the happy method of making this acceptable to the particular persons with whom he conversed.Although Sir Thomas Lawrence was not, in the usual acceptation of the word, a scholar, being unskilled in the dead languages; yet he was well versed in English literature, had a fine taste for poetry, and I have heard him recite some lines of his own composition, (full of merit) with great taste, feeling, and judgment.Sir Thomas is known to the public chiefly as a portrait painter,—the only lucrative branch of the art in England. In this, his style was truly English. In the countenances of his men we see faithful likenesses; sometimes certainly given with some degree of flattery; but he was always the more intent in shewing "the mind's construction in the face." In his portraits of heroes there is always dignity; in those of statesmen, depth of thought, with firmness of character. In the delineation of females, in which he chiefly shone, beauty and delicacy were combined with great taste of attitudes, and which was heightened by the elegance and disposition of their drapery. His backgrounds were always appropriate to the portraits; and when his pencil was employed on large pictures, these were introduced with great taste and power.The drawings of the human face in black lead pencil, frequently heightened with a little colour, which he sometimes made to present to his friends, exceed all praise, for truth, delicacy, and fine finish.Had public encouragement gone hand in hand with the powers of the man, we should, no doubt, have possessed some fine epic and dramatic subjects from his pencil. As a proof of this, I may again be permitted to advert to the sublime picture of "Satan calling up his Legions," which was purchased by the late Duke of Norfolk, and came again into the possession of Sir Thomas, when his Grace's effects were sold: here we see an epic subject of the highest class treated with invention, great power of drawing, and brilliancy of colouring. This, with "Homer reciting his Verses to the Greeks," are the only historical pictures from his pencil that I am acquainted with, and perhaps the only ones known. In this advanced stage of my work, I may be excused for giving only a brief sketch of my friend, whose loss every admirer of the fine arts in Europe deeply deplores;—a man whose name will go down to posterity coupled with those of the great masters who have preceded him in the pictorial art; and as the present high appreciation of his merits does not rest upon adventitious circumstances, time will rather add to than detract from his fame.[60]In this particular, the writer is in error, as Dr. Holland was kind enough to give his gratuitous attendance, at the earnest request of Sir Thomas Lawrence.[61]The passage is as follows:—"Olim quod vulpes ægroto cauta leoniRespondit, referam: quia me vestigia terrentOmnia te adversum spectantia, nulla retrorsum."Horatii Flacci Epistolarum, 1. i.It is thus imitated by Pope:—"Faith I shall give the answer Reynard gave;I cannot like, dread Sir, your royal cave;Because I see, by all the tracks about,Full many a beast goes in, but none comes out."[62]Among the more recent acquaintances of Fuseli, there was no one for whom he entertained a higher regard than for Mr. Samuel Cartwright; he has said to me, "Cartwright is a friendly, liberal man, and has the mind of a gentleman."[63]At this time, his age could not be accurately ascertained: he was in his eighty-fifth year, having completed his eighty-fourth on the 7th of February preceding his death.[64]At this time, his age could not be accurately ascertained: he was in his eighty-fifth year, having completed his eighty-fourth on the 7th of February preceding his death.[65]Fuseli made this remark in reference to the capital employed, and the encouragement given to the Slave Trade by some of the merchants of Liverpool, and the consequent wealth which was derived by many from this traffic. Every one who is acquainted with the parliamentary history of this country knows the arduous struggle made for its abolition, and the part which Mr. Roscoe took, when member of parliament for Liverpool, to effect this measure. In these efforts he was cordially joined by many of his intelligent and liberal townsmen.[66]This and other remarks on the pictures of Sir Joshua Reynolds, were written at Hastings, in the year 1813, shortly after the first exhibition of Sir Joshua's works at the British Institution, and sent thence by Fuseli in letters to Sir Thomas Lawrence.[67]The passage is thus rendered by Cowper:"My temper, Sir, inclines not me t' extolOr to depreciate much, or much admire,—Full well I recollect thee as thou wert."[68]First part of Shakspeare's "King Henry the Fourth," Act 3rd.[69]These statues, which have been named Castor and Pollux by some, (and by an absurd anachronism, Alexander, by others,) were considered by Fuseli to be the work of Phidias, and designed for a monument. He was of opinion that they are duplicate figures; and the subject, "Achilles curbing and addressing his steed, and astonished at the answer of his prophetic courser."[70]This picture is lost: his celebrated work of "Sin pursued by Death," being painted over it. On this canvass there are no less than three finished pictures.[71]Darwin.[72]See Pilkington's Dictionary, by Fuseli, second edition, page 191.[73]They are now the property of the Countess of Guilford.[74]This character of Fuseli was written a short time previously to his death.[75]Dante.[76]Ibid.

[1]Those who may be curious to see Fuseli's early style in German, may consult the Life of Chevalier Hudlinger, in the preface to the translation of "Mengs' thoughts on Beauty;" and also a letter "from Switzerland to Winkelmann;" both of which were written by him without alteration, although they bear his father's signature.

[2]At this time, Rösel's "Insects' Banquet" was his favourite study.

[3]The public are indebted for many of the particulars of Fuseli's early life to this gentleman, who died in 1816, and was a canon of Zurich.

[4]Fuseli ever considered Richardson a man of great genius, and one who had a key to the human heart, and was very indignant, in the latter period of his life, with a gentleman who spoke contemptuously of Clarissa Harlowe. This person said in his presence, "No one now reads the works of Richardson." "Do they not?" said Fuseli, "then by G—d they ought. If people are now tired of old novels, I should be glad to know your criterion of books. If Richardson is old, Homer is obsolete. Clarissa, to me, is pathetic—is exquisite; I never read it without crying like a child."

[5]"The Frank Intelligencer."

[6]The late Mr. Henry Füessli, of Zurich, from whom the writer has received much information. Just as this Memoir was completed, this gentleman closed his mortal career. He died on the 1st of May, 1829, in his seventy-fifth year. Mr. Füessli was a landscape painter, and held the honourable situation of President of the Society of Artists at Zurich. He had been labouring for some years under occasional attacks of asthma, and died therefrom much regretted.

[7]Mrs. Fuseli died at Zurich, 11 April, 1759, aged 44 years. She was a woman of a most amiable disposition, and respected by all who knew her.

[8]"Do but the seventh part of what thou canst."

[9]This charter, however, was never granted; the artists received the patronage of the King, and were by his command associated under the title of "The Royal Academy." Among its early members we find the names of Sir Joshua Reynolds, Gainsborough, and Wilson, who for talent in the several departments of the art in which they practised, have rendered their names immortal.

[10]Fuseli wrote in pencil, under this figure, "Fuseli amor mio."—Mr. Ottley saw this still remaining in the year 1792, when he was at Bologna, and added "anche amor mio."—W. Y. Ottley.

[11]This was a satirical drawing of the Painters in England at that time.

[12]Doctor Armstrong died in September 1779.

[13]Mr. Füessli died at Zurich the 6th of May, 1781.

[14]I beg here to acknowledge my gratitude to Mr. Roscoe for having allowed me to peruse the letters which he had received from Fuseli during a period of more than forty years, from which I have gleaned much useful information, and have only to regret, I am sure, in common with every reader of this memoir, that he did not accede to my wishes of being the biographer of his friend.

[15]The omissions in this and the succeeding letter, where asterisks are placed, relate only to the names of subscribers to the translation of Homer.

[16]Samuel Johnson.

[17]Ἀνδρασι πυγμαιοισι φονον καὶ κηρα φερουσαι·Iliad, iii. v. 6.

Ἀνδρασι πυγμαιοισι φονον καὶ κηρα φερουσαι·Iliad, iii. v. 6.

[18]Των αυθ' Ὑρτακιδης ηρχ' Ἀσιος, ὀρχαμος ἀνδρωνἈσιος Ὑρτακιδης.——Iliad, ii. v. 837-8.

Των αυθ' Ὑρτακιδης ηρχ' Ἀσιος, ὀρχαμος ἀνδρωνἈσιος Ὑρτακιδης.——Iliad, ii. v. 837-8.

[19]Iliad, v. v. 722-31.

[20]Iliad, xi. v. 15, seq. Conf. Iliad, ii. v. 42, seq.

[21]Iliad, xiv. v. 170, seq.

[22]Iliad, xviii. v. 478-607.

[23]Iliad, iv. v. 105-111.

[24]Iliad, ii. v. 101-8.

[25]Clarke, who has preserved this name in his marginal version, contends strenuously, and with great reason, that Outis ought not to be translated; and in a passage which he quotes from theActa Eruditorum, we see much fault found with Giphanius and other interpreters of Homer, for having translated it. It is certain that, in Homer, the word is declined, not asουτις -τινος, which signifies no man, but asουτις -τιδος, makingουτινin the accusative, consequently, as a proper name. It is sufficient that the ambiguity was such as to deceive the friends of the Cyclops.Outisis said by some (perhaps absurdly) to have been a name given to Ulysses, on account of his having larger ears than common.

[26]'Outis as aname, could only denote him who bore it; but as anoun, it signifies,no man, which accounts sufficiently for the ludicrous mistake of his brethren.'

[27]Vos, the admirable translator of the Odyss. in German hexameters, well aware that the question here lay not between grammar and licence, puerility of conceit, or dignity of fiction, but between sense and nonsense, without deigning to notice the contest of commentators, has renderedουτις, by "Niemand," in the first instance, and afterwards varies it with "Keiner.""Niemand ist mein Name; denn Niemand nennen mich alle.Niemand würgt mich, ihr Freund', arglistig! und Keiner gewaltsam!Wenn dir denn keiner gewalt anthut."—

"Niemand ist mein Name; denn Niemand nennen mich alle.Niemand würgt mich, ihr Freund', arglistig! und Keiner gewaltsam!Wenn dir denn keiner gewalt anthut."—

[28]The first, inΠΥΘ. A. v. 28.γαν τε και ποντον κατ' ἀμαιμακετονThe second, inΠΥΘ. P. v. 57-8.Πεμψε κασιγνηταν μενει;Θυοισαν ἀμαιμακετῳ·where the scholiast explains it byἀκαταμαχητος, and the notes deduce it from a compound of the Aἐπιτατικηandμαιμαω: a derivation more probable than that of our translator fromἁμα, and the Doricμακος; unless we suppose that Homer made use for his substantives, of the Ionic, and for his compound adjectives, of the Doric dialects!

γαν τε και ποντον κατ' ἀμαιμακετον

The second, inΠΥΘ. P. v. 57-8.

Πεμψε κασιγνηταν μενει;Θυοισαν ἀμαιμακετῳ·

where the scholiast explains it byἀκαταμαχητος, and the notes deduce it from a compound of the Aἐπιτατικηandμαιμαω: a derivation more probable than that of our translator fromἁμα, and the Doricμακος; unless we suppose that Homer made use for his substantives, of the Ionic, and for his compound adjectives, of the Doric dialects!

[29]Plin. L. xxxiii. c. 4. 'Electro auctoritas, Homero teste qui Menelai regiam, auro, electro, argento, ebore fulgere tradit.' Helen, he continues, consecrated a cup of electrum at Lindos, 'mammæ suæ mensura,' and adds, 'electri natura ad lucernarum lumina clarius argento splendere.'

[30]Την δε μετ' Ἀλκμηνην ἸΔΟΝ——Και Μεγαρην(sc.ΙΔΟΝ)κρειοντος ὑπερθυμοιο θυγατραΤην εχεν Αμφιτρυωνος ὑιος.——

Την δε μετ' Ἀλκμηνην ἸΔΟΝ——Και Μεγαρην(sc.ΙΔΟΝ)κρειοντος ὑπερθυμοιο θυγατραΤην εχεν Αμφιτρυωνος ὑιος.——

[31]Bayle is mistaken in supposing that the marriage of Lorenzo took place in 1471. Speaking of Machiavelli, he says,Il ne marque pas l'année de ce mariage, ce qui est un grand défaut dans un écrivain d'histoire; mais on peut recueillir de sa narration que ce fut l'an 1471.Dict. Hist. art. Politien.In correcting Bayle, Menckenius falls into a greater error, and places this event in 1472.Menk. in vitâ Pol.p. 48.

[32]'How grateful to our sensations, how distinct to our imagination appear the"Speluncæ, vivique lacus, ac frigida Tempe,Mugitusque boûm, mollesque sub arbore somni."'

"Speluncæ, vivique lacus, ac frigida Tempe,Mugitusque boûm, mollesque sub arbore somni."'

[33]'Published for the first time at the close of the present work.'

[34]If Virgil has given us a highly-finished personification of Rumour, if Horace speaks of hisatra Cura, if Lucretius present us with an awful picture of Superstition, their portraits are so vague as scarcely to communicate any discriminate idea, and are characterized by their operation and effects, rather than by their poetical insignia. Of the ancient Roman authors, perhaps there is no one that abounds in these personifications more than the tragedian Seneca; yet what idea do we form of Labour, when we are told that"Labor exoritur durus, et omnesAgitat curas, aperitque domos:"'Or, of Hope or Fear, from the following passage:"Turbine magni, spes solicitæUrbibus errant, trepidique metus."'The personification of Hope, by Tibullus, (Lib. II. Eleg. 6.) is scarcely worthy of that charming author; and if he has been happier in his description of Sleep, (Lib. I. Eleg. 1.) it is still liable to the objections before mentioned.'

"Labor exoritur durus, et omnesAgitat curas, aperitque domos:"

"Turbine magni, spes solicitæUrbibus errant, trepidique metus."

[35]'It is commonly understood that the idea of a systematic arrangement, for securing to states, within the same sphere of political action, the possession of their respective territories, and the continuance of existing rights, is of modern origin, having arisen among the Italian States, in the fifteenth century.Robertson's Hist. of Ch. V.v. i. sec. 2.—But Mr. Hume has attempted to shew that this system, if not theoretically understood, was at least practically adopted by the ancient states of Greece, and the neighbouring governments.Essays, v. 1.part 2.Essay 7.—In adjusting the extent to which these opinions may be adopted, there is no great difficulty. Wherever mankind have formed themselves into societies, (and history affords no instance of their being found in any other,) the conduct of a tribe, or a nation, has been marked by a general will: and states, like individuals, have had their antipathies and predilections, their jealousies, and their fears. The powerful have endeavoured to oppress the weak, and the weak have sought refuge from the powerful, in their mutual union. Notwithstanding the great degree of civilization that obtained among the Grecian States, their political conduct seems to have been directed upon no higher principle: conquests were pursued as opportunity offered, and precautions for safety were delayed till the hour of danger arrived. The preponderating mass of the Roman Republic attracted into it's vortex whatever was opposed to it's influence: and the violent commotions of the middle ages, by which that immense body was again broken into new forms, and impelled in vague and eccentric directions, postponed to a late period the possibility of regulated action. The transactions in Italy, during the fourteenth and fifteenth centuries, bear indeed a strong resemblance to those which took place among the Grecian States: but it was not till nearly the close of the latter century that a system of general security and pacification was clearly developed, and precautions taken for insuring its continuance. Simple as this idea may now appear, yet it must be considered, that, before the adoption of it, the minds of men, and consequently the maxims of states, must have undergone an important change: views of aggrandizement were to be repressed; war was to be prosecuted, not for the purpose of conquest, but of security; and, above all, an eye was to be found that could discern, and a mind that could comprehend, so extended an object.'

[36]'Objects of horror and disgust, the cold detail of deliberate barbarity, can never be proper subjects of art, because they exclude the efforts of genius. Even the powers of Shakspeare are annihilated in the butcheries of Titus Andronicus. Yet the reputation of some of the most celebrated Italian painters has been principally founded on this kind of representation. "Ici," says M. Tenhove, "c'est S. Etienne qu'on lapide, et dont je crains que la cervelle ne rejaillisse sur moi; plus loin, c'est S. Barthélémi tout sanglant, tout écorché; je compte ses muscles et ses nerfs. Vingt fleches ont criblé Sebastien. L'horrible tête du Baptiste est dans ce plat. Le gril de S. Laurent sert de pendant à la chaudière de S. Jean. Je recule d'horreur."—Mem. Gen. lib.x. May it not be doubted whether spectacles of this kind, so frequent in places devoted to religious purposes, may not have had a tendency rather to keep alive a spirit of ferocity and resentment, than to inculcate those mild and benevolent principles in which the essence of religion consists?'

[37]Our author has given ample opportunities to Mr. Tenhove, a Dutch writer on nearly the same subject with his own, to display a disparity of manner singularly contrasting with his own sober and authentic page. Mr. T. is apparently a wit and a man of feeling, but at all times ready to sacrifice matter to whim, or to substitute assertion for proof: thus, in talking of the celebrated cameo representing the punishment of Marsyas, once the property of Lorenzo, he tells us, that of old it belonged to Nero, who used it as the seal of his death-warrants, and who probably assumed the attitude of the Apollo engraved on it, whilst he assisted at the flogging of one Menedemus, a singer who had excited his jealousy; a tale partly invented, partly perverted from Suetonius, who tells something similar of Caligula and Apelles. In another place, (p. 178, note b.) after ridiculing with somewhat prolix propriety the Florentine custom of substituting, even in grave writing, the nicknames of their countrymen to their real ones, he adds, that it is a custom laughed at and disapproved by the rest of Italian writers, though undoubtedly he had read of Cola di Rienzi, Massaniello, Titta Borghese, Giorgione, Il Tintoretto, Frà Bastiano, and Titian himself. "Pauperis esset numerare pecus."

[38]Giorgio Vasari and Ascanio Condivi. Our author, though a patient admirer of the first, is offended at the "insufferable minuteness" of the second. It would be unfair to consider Condivi as the literary competitor of Vasari, yet great respect is to be paid to a narrative composed under the immediate eye of Michaelagnolo himself. His "Otto scudi al mese poco più o meno," whether they reflect much or little honour on the liberality of Lorenzo, have at least a right to rank with the "quattro mazzi, che erano quaranti libbre da candele di sego," which, the knight of Arezzo informs us, he sent as a present to Michaelagnolo. Vasari Vita di M. A. B. tom. vi. p. 328.

[39]This lady is called Mrs. Wollstonecraft, instead of Mary Wollstonecraft, throughout this Narrative, in conformity to the memoirs which have hitherto appeared of her.

[40]This and subsequent quotations respecting Mrs. Wollstonecraft are taken from her letters to Fuseli.

[41]"Memoirs of the Author of a Vindication of the Rights of Woman, by William Godwin."

[42]Mrs. Bysshe Shelly.

[43]Mr. Meyer was a painter of reputation, both in miniature and enamel.

[44]La Terribil Via, applied by Agostino Caracci to Michael Angelo.

[45]This alludes to Mr. Fuseli's proposals for a gallery filled with pictures painted by him from subjects taken from Milton's Paradise Lost.

[46]This elegant translation, in verse, was published under the title of "The Nurse."

[47]Sir Thomas Lawrence, in a discourse which he delivered as President of the Royal Academy, on the 10th December 1823, says, in reference to the Milton Gallery, "the many sublime designs by the great author of this, whose unapproached invention and high attainments enforce this tribute to living genius."

[48]For an elucidation of this passage, refer to Suetonius, edit. Burmanni, v. 2. p. 171.

[49]A name which Fuseli gave to a sprained knee.

[50]This alludes to a contest which occurred on the way to Paris: the "inquisitive traveller," Mr. Farington, was disposed to sleep at St. Juste; the rest of the party desired to push on. Mr. Moore, who had the regulation of the journey, decided the question by ordering out the horses.

[51]Fuseli made this observation not only in reference to the physiognomic cast of David's countenance, but his face was also disfigured by a hare-lip.

[52]The writer of this saw the picture in the year 1779, and made observations on the spot.

[53]In my Lectures.

[54]The British Institution was opened for the first exhibition, on the 18th of January, 1806.

[55]A name by which he generally designated the amiable and ingenious Tiberius Cavallo, a gentleman well known for his numerous and able works on Natural Philosophy, who was also on a visit to Mr. Rackett at this time: at whose hospitable house he usually passed three or four of the summer months.

[56]Mr. Johnson made Cowper a present of one thousand pounds over and above their agreement.

[57]The passage is thus translated by Franklin:———-"A dreadful clapOf thunder shook the ground; the virgins trembled,And clinging fearful round their father's knees,Beat their sad breasts and wept."Sophocles Œdipus Coloneus, Act. 5, Scene 1.

——-"A dreadful clapOf thunder shook the ground; the virgins trembled,And clinging fearful round their father's knees,Beat their sad breasts and wept."Sophocles Œdipus Coloneus, Act. 5, Scene 1.

[58]Professor Bonnycastle was born at Aylesbury, in Buckinghamshire, in January 1752, and died at Woolwich, 15th of May, 1821.

[59]While these pages were passing through the press, Europe and the fine arts have been bereaved of the splendid talents of Sir Thomas Lawrence. This gentleman died, after an illness of a few days continuance, on the 7th of January, 1830, in the sixty-first year of his age.Shortly after Sir Thomas's arrival in London, Fuseli saw "the future promise" in the youth, and was therefore gratified in making remarks upon his portraits for his improvement. This kind notice, from a man whom Sir Thomas held in the highest esteem for talents and various acquirements, made a deep impression on his mind: he sought an intimacy with him, which, upon more mature knowledge of the individual, ripened into the closest friendship. The world is now deprived of these two great artists, and there can be no other than feelings of deep regret for their loss. These, however, with regard to myself, are not unmingled with those of satisfaction, when I consider the many happy hours passed in their society, and that this pleasure was enjoyed for more than twenty years.At the death of Mr. West, in the year 1820, Fuseli was among the most forward of the Academicians to propose that his friend, Sir Thomas, who was then on the Continent of Europe, should fill the chair. This honour he felt due to him, not only for his unrivalled powers as a portrait painter, but for the elegance of his mind and the urbanity of his manners. Few men had so pleasing an address; and fewer the happy method of making this acceptable to the particular persons with whom he conversed.Although Sir Thomas Lawrence was not, in the usual acceptation of the word, a scholar, being unskilled in the dead languages; yet he was well versed in English literature, had a fine taste for poetry, and I have heard him recite some lines of his own composition, (full of merit) with great taste, feeling, and judgment.Sir Thomas is known to the public chiefly as a portrait painter,—the only lucrative branch of the art in England. In this, his style was truly English. In the countenances of his men we see faithful likenesses; sometimes certainly given with some degree of flattery; but he was always the more intent in shewing "the mind's construction in the face." In his portraits of heroes there is always dignity; in those of statesmen, depth of thought, with firmness of character. In the delineation of females, in which he chiefly shone, beauty and delicacy were combined with great taste of attitudes, and which was heightened by the elegance and disposition of their drapery. His backgrounds were always appropriate to the portraits; and when his pencil was employed on large pictures, these were introduced with great taste and power.The drawings of the human face in black lead pencil, frequently heightened with a little colour, which he sometimes made to present to his friends, exceed all praise, for truth, delicacy, and fine finish.Had public encouragement gone hand in hand with the powers of the man, we should, no doubt, have possessed some fine epic and dramatic subjects from his pencil. As a proof of this, I may again be permitted to advert to the sublime picture of "Satan calling up his Legions," which was purchased by the late Duke of Norfolk, and came again into the possession of Sir Thomas, when his Grace's effects were sold: here we see an epic subject of the highest class treated with invention, great power of drawing, and brilliancy of colouring. This, with "Homer reciting his Verses to the Greeks," are the only historical pictures from his pencil that I am acquainted with, and perhaps the only ones known. In this advanced stage of my work, I may be excused for giving only a brief sketch of my friend, whose loss every admirer of the fine arts in Europe deeply deplores;—a man whose name will go down to posterity coupled with those of the great masters who have preceded him in the pictorial art; and as the present high appreciation of his merits does not rest upon adventitious circumstances, time will rather add to than detract from his fame.

Shortly after Sir Thomas's arrival in London, Fuseli saw "the future promise" in the youth, and was therefore gratified in making remarks upon his portraits for his improvement. This kind notice, from a man whom Sir Thomas held in the highest esteem for talents and various acquirements, made a deep impression on his mind: he sought an intimacy with him, which, upon more mature knowledge of the individual, ripened into the closest friendship. The world is now deprived of these two great artists, and there can be no other than feelings of deep regret for their loss. These, however, with regard to myself, are not unmingled with those of satisfaction, when I consider the many happy hours passed in their society, and that this pleasure was enjoyed for more than twenty years.

At the death of Mr. West, in the year 1820, Fuseli was among the most forward of the Academicians to propose that his friend, Sir Thomas, who was then on the Continent of Europe, should fill the chair. This honour he felt due to him, not only for his unrivalled powers as a portrait painter, but for the elegance of his mind and the urbanity of his manners. Few men had so pleasing an address; and fewer the happy method of making this acceptable to the particular persons with whom he conversed.

Although Sir Thomas Lawrence was not, in the usual acceptation of the word, a scholar, being unskilled in the dead languages; yet he was well versed in English literature, had a fine taste for poetry, and I have heard him recite some lines of his own composition, (full of merit) with great taste, feeling, and judgment.

Sir Thomas is known to the public chiefly as a portrait painter,—the only lucrative branch of the art in England. In this, his style was truly English. In the countenances of his men we see faithful likenesses; sometimes certainly given with some degree of flattery; but he was always the more intent in shewing "the mind's construction in the face." In his portraits of heroes there is always dignity; in those of statesmen, depth of thought, with firmness of character. In the delineation of females, in which he chiefly shone, beauty and delicacy were combined with great taste of attitudes, and which was heightened by the elegance and disposition of their drapery. His backgrounds were always appropriate to the portraits; and when his pencil was employed on large pictures, these were introduced with great taste and power.

The drawings of the human face in black lead pencil, frequently heightened with a little colour, which he sometimes made to present to his friends, exceed all praise, for truth, delicacy, and fine finish.

Had public encouragement gone hand in hand with the powers of the man, we should, no doubt, have possessed some fine epic and dramatic subjects from his pencil. As a proof of this, I may again be permitted to advert to the sublime picture of "Satan calling up his Legions," which was purchased by the late Duke of Norfolk, and came again into the possession of Sir Thomas, when his Grace's effects were sold: here we see an epic subject of the highest class treated with invention, great power of drawing, and brilliancy of colouring. This, with "Homer reciting his Verses to the Greeks," are the only historical pictures from his pencil that I am acquainted with, and perhaps the only ones known. In this advanced stage of my work, I may be excused for giving only a brief sketch of my friend, whose loss every admirer of the fine arts in Europe deeply deplores;—a man whose name will go down to posterity coupled with those of the great masters who have preceded him in the pictorial art; and as the present high appreciation of his merits does not rest upon adventitious circumstances, time will rather add to than detract from his fame.

[60]In this particular, the writer is in error, as Dr. Holland was kind enough to give his gratuitous attendance, at the earnest request of Sir Thomas Lawrence.

[61]The passage is as follows:—"Olim quod vulpes ægroto cauta leoniRespondit, referam: quia me vestigia terrentOmnia te adversum spectantia, nulla retrorsum."Horatii Flacci Epistolarum, 1. i.It is thus imitated by Pope:—"Faith I shall give the answer Reynard gave;I cannot like, dread Sir, your royal cave;Because I see, by all the tracks about,Full many a beast goes in, but none comes out."

"Olim quod vulpes ægroto cauta leoniRespondit, referam: quia me vestigia terrentOmnia te adversum spectantia, nulla retrorsum."Horatii Flacci Epistolarum, 1. i.

"Faith I shall give the answer Reynard gave;I cannot like, dread Sir, your royal cave;Because I see, by all the tracks about,Full many a beast goes in, but none comes out."

[62]Among the more recent acquaintances of Fuseli, there was no one for whom he entertained a higher regard than for Mr. Samuel Cartwright; he has said to me, "Cartwright is a friendly, liberal man, and has the mind of a gentleman."

[63]At this time, his age could not be accurately ascertained: he was in his eighty-fifth year, having completed his eighty-fourth on the 7th of February preceding his death.

[64]At this time, his age could not be accurately ascertained: he was in his eighty-fifth year, having completed his eighty-fourth on the 7th of February preceding his death.

[65]Fuseli made this remark in reference to the capital employed, and the encouragement given to the Slave Trade by some of the merchants of Liverpool, and the consequent wealth which was derived by many from this traffic. Every one who is acquainted with the parliamentary history of this country knows the arduous struggle made for its abolition, and the part which Mr. Roscoe took, when member of parliament for Liverpool, to effect this measure. In these efforts he was cordially joined by many of his intelligent and liberal townsmen.

[66]This and other remarks on the pictures of Sir Joshua Reynolds, were written at Hastings, in the year 1813, shortly after the first exhibition of Sir Joshua's works at the British Institution, and sent thence by Fuseli in letters to Sir Thomas Lawrence.

[67]The passage is thus rendered by Cowper:"My temper, Sir, inclines not me t' extolOr to depreciate much, or much admire,—Full well I recollect thee as thou wert."

"My temper, Sir, inclines not me t' extolOr to depreciate much, or much admire,—Full well I recollect thee as thou wert."

[68]First part of Shakspeare's "King Henry the Fourth," Act 3rd.

[69]These statues, which have been named Castor and Pollux by some, (and by an absurd anachronism, Alexander, by others,) were considered by Fuseli to be the work of Phidias, and designed for a monument. He was of opinion that they are duplicate figures; and the subject, "Achilles curbing and addressing his steed, and astonished at the answer of his prophetic courser."

[70]This picture is lost: his celebrated work of "Sin pursued by Death," being painted over it. On this canvass there are no less than three finished pictures.

[71]Darwin.

[72]See Pilkington's Dictionary, by Fuseli, second edition, page 191.

[73]They are now the property of the Countess of Guilford.

[74]This character of Fuseli was written a short time previously to his death.

[75]Dante.

[76]Ibid.

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