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 Homer.
In the year 1786, Mr. Alderman Boydell, at the suggestion of Mr. George Nicol, began to form his splendid collection of modern historical pictures, the subjects being from Shakspeare's plays, and which was called "The Shakspeare Gallery." This liberal and well-timed speculation gave great energy to this branch of the art, as well as employment to many of our best artists and engravers, and among the former, to Fuseli, who executed eight large and one small picture for the gallery. The following were the subjects:
Prospero, Miranda, Caliban, and Ariel—from the Tempest. Titania in raptures with Bottom, who wears the ass's head, attendant fairies, &c. Titania awaking, discovers Oberon at her side; Puck is removing the ass's head from Bottom—Midsummer Night's Dream. Henry the Vth with the Conspirators—King Henry V. Lear dismissing Cordelia from his Court—King Lear. Ghost of Hamlet's Father—Hamlet. Falstaff and Doll—King Henry IV. 2d part. Macbeth meeting the Witches on the Heath—Macbeth. Robin Goodfellow—Midsummer Night's Dream.—This gallery gave the public an opportunity of judging of Fuseli's versatile powers.
The stately majesty of the ghost of Hamlet's father, contrasted with the expressive energy of his son, and the sublimity brought about by the light, shadow, and general tone, strike the mind with awe. In the picture of Lear is admirably pourtrayed the stubborn rashness of the father, the filial piety of the discarded daughter, and the wicked determination of Regan and Goneril. The fairy scenes in the Midsummer Night's Dream amuse the fancy, and show the vast inventive powers of the painter: and Falstaff with Doll is exquisitely ludicrous.
The example set by Boydell was a stimulus to other speculations of a similar nature, and within a few years appeared the Macklin and Woodmason galleries; and it may be said with great truth, that Fuseli's pictures were among the most striking, if not the best in either collection.
The splendid edition of Lavater's physiognomy was announced this year (1786) for publication. Fuseli wrote the preface, or, as he modestly called it, the "advertisement;" corrected the translation by Hunter; made several drawings to illustrate the work; and superintended the execution of the engravings. Lavater had prepared many of his drawings, illustrative of the system, on a folio size, wishing the treatise to be brought out in that form; and it was his desire, that his lines should be rather traced than imitated by the engraver. Fuseli entered into an animated correspondence on this subject; gave him to understand, that the quarto size best pleased the British public; and expressed his own decided opinion against "ponderous folios." He at length succeeded in getting Lavater's slow consent to the work appearing in quarto; but so particular was the author as to a proper exemplification, that he made his drawings anew to suit the quarto size.
In 1787, he painted a picture for Macklin's Poet's Gallery, "the Vision of Prince Arthur."