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 Zurich[Page 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 countryman[22]
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 London[46]
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. Geddes[57]
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 Homer[77]
CHAPTER VI.
Fuseli's proficiency in Italian History, Literature, and the Fine Arts, exemplified in his Criticism on Roscoe's Lorenzo de' Medici[110]
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. Wollstonecraft[158]
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. Lock[171]
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 Johnson[239]
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 Academy[287]
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 house[304]
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 Will[329]
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 Sciences[350]
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 Literature[371]
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 1825[395]
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]

THE

LIFE