"Liverpool, 24th May, 1814.
"my dear friend,
"When my son Robert left us, about ten days since, I sent by him a slight outline of a frieze, under a picture of a Holy Family, by Ghirlandajo, desiring him to give it you, and to enquire whether you agree with me in thinking it likely to be the production of Michelagnolo, who is said to have painted in the pictures of Ghirlandajo, whilst a student with him. Slight as it is, being, in fact, only the copy of a copy, you will be able to form an opinion of it at first sight. The picture is in distemper as well as the frieze, which is executed in chiar' oscuro, in a sort of oblong broken touches, producing on the whole a good effect. The superiority of the style of the frieze to that of the picture is evident, and demonstrates to a certainty that they are the work of different hands.
"I think I also told you, some time since, that I had a picture of Leo X., with the Cardinals de' Medici and Rossi, which I have reason to believe is the copy made by Andrea del Sarto, from that of Raffaelle, and which was first sent to Mantua, afterwards went to Parma, and thence to Capo di Monte, where it is now no longer to be found. Many persons who had seen it there, assure me this is undoubtedly the same picture. I have had it some years, and having been frequently asked whether I had taken it out of the frame to look for the mark mentioned by Vasari, I determined, a few months since, to examine it, and sending for two or three friends, we took it out, and on the edge of the pannel, near the shoulder of the Cardinal de' Medici, found the remains of an inscription, in large letters, which I conjecture to mean, "Andrea Florentinus Pinxit," with the date, which is so far obliterated as to be wholly illegible. At all events, there undoubtedly has been an inscription on the edge of the pannel, a circumstance in itself highly favourable to its being the very picture which Vasari has described. This picture is most highly finished, has an indescribable force of colouring, and is in as fine a state of preservation as the day it was painted. Those who have seen the picture of Raffaelle in the Louvre, assure me that this is in every respect equal to it. I long to have your decision on these two pictures, but hope it will be on the spot.
"I lately got a fine picture by Bernardino Lovini, which confirms in every point the account which Lanzi and you have given of him. It is a Holy Family, with two attendant pilgrims, saints, small life. I think you will admire it for its simplicity, pathos, and beautiful colouring.
"I have a friend in Liverpool, who is a good chymist, and prepares colours, which I believe to be of a superior quality. His name is Strahan, and his agent for the sale of them in London, is Mr. Thos. Clay, No. 18, Ludgate-hill. I shall esteem it a favour if you will make a trial of them, and if they should be found to answer better than those you are already supplied with, would recommend them to your friends. I believe they are already in some degree known amongst the artists; but Mr. Strahan is very desirous that you should make a trial of them; and I have promised him all my interest with you for the accomplishment of his wishes.
"I hope Robert will have called on you before you receive this: for your kindness and friendship both to him and Richard accept my best thanks, and believe me, my dear friend, unalterably yours,
"W. Roscoe."
Canova visited England in the summer of 1816, and was then very much struck with the pictures, as well as pleased with Fuseli's society. This eminent sculptor remarked, that he not only showed the brilliancy of genius in his conversation, but that he spoke Italian with the purity of a well-educated native of Rome. And on his return, the Academy of St. Luke, at Rome, at his request, sent a diploma, constituting Fuseli a member of the first class, an honour which was conferred also, by the like recommendation, upon Sir Thomas Lawrence and Mr. Flaxman.
In the year 1817, Fuseli sat, at my request, to Harlow for his portrait, which is on pannel, of a cabinet size. This eminent painter was highly gratified by the compliment, and exerted every faculty to do his best. Fuseli obliged him and me by giving for this picture twelve sittings of two hours each; and a more perfect resemblance, or characteristic portrait, has seldom been painted. I attended Fuseli at each sitting, and during the progress of this portrait. Harlow commenced and finished his best and most esteemed work, "The trial of Queen Katherine," in which he has introduced many portraits; but more particularly those of the Kemble family; in the performance of this work, he owed many obligations to Fuseli for his critical remarks; for when he first saw the picture (chiefly in dead colouring), he said, "I do not disapprove of the general arrangement of your work, and I see you will give it a powerful effect of light and shadow; but you have here a composition of more than twenty figures, or I should rather say parts of figures; because you have not shewn one leg or foot, which makes it very defective. Now, if you do not know how to draw legs and feet, I will shew you;" and taking up a crayon, drew two on the wainscot of the room. Harlow profited by these remarks, and the next time we saw the picture, the whole arrangement in the foreground was changed. Fuseli then said, "So far you have done well; but now you have not introduced a back figure, to throw the eye of the spectator into the picture;" and then pointed out by what means he might improve it in this particular. Accordingly Harlow introduced the two boys who are taking up the cushion; that which shews the back, is altogether due to Fuseli, and is certainly the best drawn figure in the picture. Fuseli afterwards attempted to get him to improve the drawing of the arms of the principal object (Mrs. Siddons), who is represented as Queen Katherine, but without much effect, particularly the left; and after having witnessed many ineffectual attempts of the painter to accomplish this, he desisted, and remarked, "It is pity that you never attended the Antique Academy."