HENRY FUSELI, Esq. M.A. R.A.
Reading edition
KEEPER, AND PROFESSOR OF PAINTING TO THE ROYAL ACADEMY IN LONDON; MEMBER OF THE FIRST CLASS OF THE ACADEMY OF ST. LUKE AT ROME.
THE FORMER WRITTEN, AND THE LATTER EDITED BY
JOHN KNOWLES, F.R.S.
CORRESPONDING MEMBER OF THE PHILOSOPHICAL SOCIETY AT ROTTERDAM,
HIS EXECUTOR.
"Animo vidit, ingenio complexus est, eloquentiâ illuminavit." Velleius Paterculus in Ciceronem.
IN THREE VOLUMES.
VOL. I.
LONDON:
HENRY COLBURN AND RICHARD BENTLEY,
NEW BURLINGTON STREET.
MDCCCXXXI.
LONDON:
PRINTED BY SAMUEL BENTLEY,
Dorset-street, Fleet-street.
TO
THE RIGHT HONORABLE
SUSAN,
COUNTESS DOWAGER OF GUILFORD,
BARONESS NORTH AND GUILFORD.
MADAM,
I feel a degree of diffidence in dedicating to your Ladyship the Life and Posthumous Works of Henry Fuseli; because, with regard to the former, no one is better acquainted with the extent of his talents, or can form a more accurate opinion of the powers of his conversation, and the excellent qualities of his head and heart, than yourself. In giving some account of his life and pursuits, I have endeavoured to speak of him as he was, and to become his "honest chronicler." How far I have succeeded, it is for your Ladyship to form a judgment. Had it ever occurred to me, during his lifetime, that it would be my lot to become his Biographer, I should have kept a Journal, and thus have been enabled to present to you, and to the world, a more copious and rich view of his colloquial powers. But as this is not the case, if the Memoir bring to your remembrance the general power of his genius, or give an adumbration of his professional merit; if it convey impressions of his profound classical attainments and critical knowledge, and recall with them the simplicity of his domestic habits, my end is fully answered.
It is not for me to make an apology for sending to the public, under the high support of your Ladyship's name, the posthumous works of my friend; as these, I know, will be acceptable to you; and many of them have already received the highest encomiums, when delivered as Lectures before the Members of the Royal Academy of Arts.
I am fully certain that if the mind which dictated these works, could now be conscious of the fact, no circumstance would give to it greater satisfaction, than the knowledge of their appearing under the sanction of your patronage.
I have the honour to subscribe myself, Madam, Your Ladyship's most obedient, And obliged humble servant, JOHN KNOWLES. 4, Osnaburgh Street, Regent's Park, 24th March, 1830.
ADVERTISEMENT.
In offering to the public the Life and a complete edition of the literary Works of Henry Fuseli, I feel myself called upon to state the sources whence the former has been drawn.
The daily intercourse and sincere friendship which subsisted for many years between this great artist and myself, afforded me the opportunity of witnessing his domestic habits, hearing many of the incidents of his life, and watching his career as an artist; and, being executor to his will, his professional as well as private papers came into my possession. Independently of these advantages, I have been in correspondence with the nearest branches of his family, (at Zurich, in Switzerland,) and from their kindness have obtained many particulars of his early life, together with the correction of some previously inaccurate dates. Whatever estimate, therefore, may be formed of my work, as a literary production, the particulars have been gathered from the most authentic and unquestionable sources.
With respect to his works, it may be necessary to state that the first Six Lectures were published in a quarto volume under Mr. Fuseli's own superintendence, and were printed in a more extended form than that in which they were delivered; additional observations having been inserted for the press, and notes added to indicate the authorities whence his opinions were derived. They are now reprinted from a copy in my possession, in which are noted some corrections by the author.
The remaining Six Lectures are published from the manuscripts in his own hand-writing, without any addition, omission, or alteration.
The Aphorisms were collated, and re-copied fairly some years before the death of the author: these are printed verbatim as he intended they should come before the public.
The History of the Italian Schools of Art will be found to contain the professional lives of Michael Angelo, Raffaelle, Titian, Correggio, and other great masters, with the author's criticisms on their works. Most of the observations on Art were made by Fuseli while in Italy and France, after a close inspection of the frescoes, pictures, or works in sculpture, which he describes or criticises; 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 recorded.
The reader will notice, that, in a few instances, the same notions and expressions are repeated; a circumstance which occasioned from an eminent artist, (the late Sir Thomas Lawrence,) for whose opinion and talents I had great respect, a recommendation to "use the pruning-knife." But it appeared to me, after due consideration, to be preferable that I should print the manuscripts as they came into my hands; for to have omitted these passages might have disturbed the connexion of the reasoning and rendered the author's ideas less apparent to the reader; I therefore present his works to the world without any omission, alteration, or addition on my part.
John Knowles.
CONTENTS
OF
THE FIRST VOLUME.
CHAPTER I.
Fuseli's birth and family.—Passion for drawing manifested in his childhood.—His destination for the Church.—Singular cause of ambidexterity.—Fuseli's early fondness for entomology.—He enters the Collegium Carolinum at Zurich.—His associates there: Lavater, Usteri, Tomman, Jacob and Felix Hess.—Professors Bodmer and Breitinger.—His partiality for Shakspeare, &c.—His turn for satire called forth at the College.—He courts the Poetic Muse.—Enters into holy orders at the same time with Lavater.—State of Pulpit oratory in Zurich.—Fuseli and Lavater become champions of the public cause against a magistrate of Zurich.—Quits ZurichPage 1
CHAPTER II.
The friends are accompanied in their journey by Professor Sulzer.—They visit Augsburgh and Leipsic.—Arrive at Berlin.—Fuseli furnishes some designs for Bodmer's work.— Baron Arnheim.—Fuseli visits Barth, in Pomerania, where he pursues his studies for six months under Professor Spalding.—Motives which induce him to visit England, where he arrives in 1763, under the protection of Sir Andrew Mitchell.—Lord Scarsdale: Mr. Coutts: Mr. Andrew Millar: Mr. Joseph Johnson.—Fuseli receives engagements from the booksellers.—His first residence in London: becomes acquainted with Smollet: Falconer: A. Kauffman: Mrs. Lloyd: Mr. Cadell: Garrick.—Fuseli accepts, and shortly after relinquishes the charge of travelling tutor to the son of Earl Waldegrave.—His first interview with Sir Joshua Reynolds.—His earliest production in oil painting.—He visits Liverpool.—Takes part in Rousseau's quarrel with Hume and Voltaire, (1767) and exerts his pen in the cause of his countryman22
CHAPTER III.
Fuseli leaves England for Italy in the society of Dr. Armstrong.—They quarrel, and separate at Genoa.—Fuseli arrives at Rome (1770).—His principle of study there.—He suffers through a fever, and repairs to Venice for his health.—Visits Naples.—Quits Rome (1778) for Switzerland.—Letter to Mr. Northcote.—Fuseli renews his classical studies.—Visits his family at Zurich.—Engages in an unsuccessful love-affair.—Arrives again in London46
CHAPTER IV.
Fuseli settles in London.—Interview with Mr. Coutts.—Reconciliation with Dr. Armstrong.—Professor Bonnycastle.—Society at Mr. Lock's.—Mr. James Carrick Moore and Admiral Sir Graham Moore.—Sir Joshua Reynolds.—Mr. West.—Anecdote of Fuseli and West.—The popular picture of "The Nightmare."—Death of Fuseli's Father.—Visit to Mr. Roscoe at Liverpool.—Fuseli's singular engagement to revise Cowper's Iliad.—Three Letters from Mr. Cowper.—Anecdotes of Fuseli and Dr. Geddes57
CHAPTER V.
Subjects painted by Fuseli for Boydell's "Shakspeare Gallery."—His assistance towards the splendid Edition of "Lavater's Physiognomy."—His picture for Macklin's "Poets' Gallery."—His contributions to the Analytical Review.—His critique on Cowper's Homer77
CHAPTER VI.
Fuseli's proficiency in Italian History, Literature, and the Fine Arts, exemplified in his Criticism on Roscoe's Lorenzo de' Medici110
CHAPTER VII.
Fuseli's Marriage.—His inducements to associate himself with the Royal Academy.—He translates Lavater's "Aphorisms on Man."—Remarks on his own "Aphorisms on Art."—Particulars of Fuseli's acquaintance with Mrs. Wollstonecraft158
CHAPTER VIII.
Milton.—First notion of the "Milton Gallery" hence suggested.—Letter to Mr. Roscoe from Fuseli and Mr. Johnson.—Circumstances attending Fuseli's Election as a Royal Academician.—Sir Joshua Reynolds's temporary secession connected with that event.—Fuseli's progress in the pictures for the "Milton Gallery."—Controversy between Fuseli and the Rev. Mr. Bromley.—Subjects painted for Woodmason's "Illustrations of Shakspeare."—Subscription towards the completion of the Milton Gallery.—Letter from Mr. Roscoe.—Fuseli contributes to Seward's "Anecdotes."—His Visit to Windsor with Opie and Bonnycastle.—Anecdotes connected with that Visit.—Letter from Mr. Roscoe.—Mr. Johnson's Imprisonment, and Fuseli's adherence to him.—Anecdote of Lord Erskine.—Exhibition of the "Milton Gallery," and List of the Works composing it, with incidental Comments, &c.—Letter to Fuseli from his brother Rodolph.—Letter from Fuseli to Mr. Lock171
CHAPTER IX.
Fuseli's Lectures at the Royal Academy.—Letters respecting them from Mr. Farington.—Letter from Sir Henry Englefield, on the subject of the ancient Vases.—Death of Fuseli's friend Lavater.—Fuseli's Visit to Paris in 1802.—His Letter from thence to Mr. James Moore.—His acquaintance with the French Painters David and Gerard.—Results of his Visit.—Letter from Mr. Roscoe.—Fuseli's Remarks on some of the Paintings in the Louvre.—Letter from Mr. Smirke.—Fuseli elected Keeper of the Royal Academy.—Incidental Anecdote.—Letter to Mr. Joseph Johnson239
CHAPTER X.
The Biographer's Introduction to Fuseli.—New Edition of Pilkington's Dictionary of Painters, superintended by Fuseli.—Establishment of the British Institution, and Fuseli's limited Contributions to the Exhibition there.—Subject from Dante.—Fuseli's Remarks on Blake's Designs.—His Lectures on Painting renewed.—Tribute of esteem from the Students of the Academy.—Letter.—Death of Mr. Johnson, and Fuseli's sympathy on the occasion.—Fuseli re-elected to the Professorship of Painting at the Royal Academy287
CHAPTER XI.
Fuseli's prefatory Address to his resumed Lectures.—His second Edition of Pilkington.—He suffers from a nervous fever, and visits Hastings in company with the Biographer.—His Picture of Marcus Curius, and Letter relative to it.—Letter from Mr. Roscoe.—Canova's Intercourse with Fuseli.—Anecdotes of Fuseli and Harlow.—Letters from Fuseli to the Biographer.—Republication of his Lectures, with additions.—Death of Professor Bonnycastle, and Anecdote concerning him.—Death of Fuseli's friend and patron Mr. Coutts.—An agreeable party at Fuseli's house304
CHAPTER XII.
Decline of Fuseli's Health.—Letter from Mr. James C. Moore.—Fuseli's Bust by Baily, and Portrait by Sir Thomas Lawrence.—His last Academical Lectures.—Particulars of his Illness and Death.—Proceedings relative to his interment, with an account of the ceremony—Copy of his Will329
CHAPTER XIII.
Fuseli's personal appearance and habits.—Existing Memorials of him in Pictures and Busts.—His method of dividing his time.—Anecdotes exemplifying his irritability.—His attainments in classical and in modern Languages.—Instances of his Powers of Memory.—His intimate knowledge of English Poetry and Literature.—His admiration of Dante.—His Passion for Entomology.—His opinions of some contemporary Artists.—His conversational powers, and Anecdotes.—His deficient acquaintance with the pure Physical Sciences350
CHAPTER XIV.
Fuseli's inherent shyness of disposition.—His opinion of various noted individuals, viz. Dr. Johnson, Sterne, Sir Joshua Reynolds, Gibbon, Horne Tooke, and Thomas Paine.—His cultivation of English notions and habits.—His attachment to civil and religious Liberty.—His intimacy with theatrical matters.—His adventure at a Masquerade.—His powers as a Critic, both in Literature and Art, with various illustrative examples.—His impressions of Religion.—One of his Letters on Literature371
CHAPTER XV.
Character of Fuseli as an Artist.—His early style.—His ardent pursuit of excellence in design.—His neglect of mechanical means, particularly as regards Colours.—His professional independence, unmixed with obstinacy.—His pre-eminent faculty of invention, and success in the portraiture of the ideal.—His deficiencies as to correctness, and disinclination to laborious finish.—Causes of his limited popularity as a Painter.—His felicity in Likenesses.—His colour and chiar-oscuro.—His quality as a Teacher of the Fine Arts.—His ardent love of Art.—Arrangements as to the disposal of his Works, &c.—List of his Subjects exhibited at the Royal Academy from 1774 to 1825395
APPENDIX.
On the character of Fuseli as an Artist, by W. Y. Ottley, Esq.—Verses to Fuseli on his series of Pictures from the Poetical Works of Milton, by W. Roscoe, Esq.—Ode to Fuseli on seeing Engravings from his Designs, by H. K. White, Esq.—"A Vision,"—verses in which Fuseli's principal productions are briefly noticed 419