"I have done the deed;"

the other, Garrick as Richard the Third, making love to Lady Anne, over the corse of her father-in-law, Henry the Sixth. These, according to an inscription on the second, were made in London, in 1766. And although they have the faults of most of his early productions, yet they are drawn with characteristic truth and spirit.

At the end of the year (1766) an advantageous offer was made to Fuseli, to undertake the situation of travelling tutor to Viscount Chewton, the eldest son of Earl Waldegrave, which, after consulting Professor Sulzer, he accepted. For this charge, it was considered, his extensive knowledge of languages and eminent literary talents fully qualified him. His lordship was young, and, when in France, showed an impatience of control common to a youth of his age and rank in life, the latter of which he thought should exempt him from the authority and constraint which his tutor considered it his duty to exert. This disposition, on the part of the pupil, naturally excited the irritable feelings of Fuseli, and on a second refusal to obey, a severe blow was given. Considering that, after this, his services would be of no avail to a youth by whom they were not properly appreciated, he, to use his own words, "determining to be a bear-leader no longer," wrote in nearly those terms to Earl Waldegrave, and returned to England. He left, however, some written instructions with Lord Chewton, showing how he might profit by travelling. On his return to this country, Earl Waldegrave, so far from condemning (as Fuseli expected) his conduct, told him that he had acted with a proper degree of spirit; but Fuseli's family, and most of his friends, blamed him in the strongest terms for his impetuosity, as they considered that a want of forbearance on his part had ruined those prospects in life which naturally would arise from forming a connexion with a family of such consequence as that of Earl Waldegrave. To Bodmer he explained all the circ.u.mstances of the case, with the state of his feelings; and his venerable tutor wrote him a letter of consolation. In reply to this, Fuseli spoke in florid terms of the agonies which he had felt while residing in that n.o.ble family, when he considered himself obliged to say Yes, when No "stuck in the throat;"--and thus showed, that he was not framed to live with courtiers. In after-life he used to remark jocosely to his friends, "The n.o.ble family of Waldegrave took me for a bear-leader, but they found me the bear."

On Fuseli's return to England, in 1767, there was every prospect that the society which had been formed for the promotion of the fine arts would receive royal protection and patronage, and become a chartered body.[9] And it was then the general opinion, that great public encouragement would be given to artists. This still increased his wish to become a painter. He sought for and obtained an introduction to Mr.

(afterwards Sir Joshua) Reynolds, to whom he showed a portfolio of drawings, and some small etchings, which he had recently made from subjects in the Bible, and an etching on a large scale from Plutarch,--"Dion seeing a female spectre sweep his hall." Sir Joshua, who was much struck with the style, grandeur, and original conception of his works, asked him how long he had been from Italy? Fuseli answered, "he had never seen that favoured country;" at which the former expressed much surprise; and, to mark how highly he estimated his talents, requested permission to have some of the drawings copied for himself.

This was readily granted, and he was induced, by the solicitations of Fuseli, to accept some of the etchings. The interview ended by Reynolds a.s.suring him, that "were he at his age, and endowed with the ability of producing such works, if any one were to offer him an estate of a thousand pounds a-year, on condition of being any thing but a painter, he would, without the least hesitation, reject the offer."

Having received such encouragement and flattering encomiums from the greatest painter of the age, Fuseli directed nearly the whole of his attention to drawing; and at the recommendation of Reynolds, afterwards tried oil colours. The first picture he produced was "Joseph interpreting the dreams of the butler and baker of Pharaoh." On showing this to Reynolds, he encouraged him to proceed, remarking, "that he might, if he would, be a colourist as well as a draughtsman." This picture, now in the possession of the Countess of Guilford, fully justifies the opinion of Sir Joshua, as it is remarkably well coloured, and, as a first attempt in oil colours, may be considered a surprising production.

From the time of Fuseli's first arrival in England, he had been a constant visitor at Mr. Johnson's house, and, in common with all those who were acquainted with him, was a great admirer of his steady, upright character. In the summer of 1767, he was prevailed upon to accompany him to Liverpool, which was Johnson's native town. From this, and subsequent visits, Fuseli became acquainted with men who, in after-life, were the greatest patrons of his pencil.

The attention of the public was at this time much engaged by the constant attacks made by Hume and Voltaire on the works of Rousseau.

Fuseli advocated the cause of his countryman, and published anonymously, during the year 1767, a thin duodecimo volume, ent.i.tled "Remarks on the Writings and Conduct of J. J. Rousseau." But he never wished it to be considered that he was the author of this work. To speak of it as a literary production, it abounds with wit and sarcasm; and although, in style, it cannot be considered strictly English, yet there is novelty in the remarks, and great power of language throughout the book. It also shows him to be well read in the works of Rousseau, whom at this time he idolized, and to be perfectly acquainted with the nature of the disputes in all their bearings. Perhaps the reasons for not wishing it to be considered a work of his, although he never denied it, were, that there are in several instances coa.r.s.eness of language and indelicacies of expression which disfigure the pages of the book, and that in more advanced life the high opinion which he had formed of Rousseau, was in a degree abated. Fuseli gave the design for the frontispiece, which represents in the foreground, Voltaire booted and spurred, riding upon man, who is crawling upon the earth: in the back of the picture, Justice and Liberty are gibbeted. Rousseau is witnessing Voltaire's pranks, and by his att.i.tude seems to threaten disclosure. This work is rarely to be met with, as the greater part of the impression was destroyed shortly after it was printed, by an accidental fire which took place in Mr.

Johnson's house, who then resided in Paternoster Row.

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 cla.s.sical studies.--Visits his family at Zurich.--Engages in an unsuccessful love-affair.--Arrives again in London.

Fuseli had now determined to relinquish the pen for the pencil, and to devote his life to painting; his wishes were therefore directed to Rome, the seat of the fine arts.

Having at Mr. Coutts' table renewed the intimacy with Dr. Armstrong, which formerly subsisted at Berlin, and as the Doctor considered it necessary to pa.s.s the winter in the milder climate of Italy, to relieve a catarrhal complaint, under which he was then labouring, Fuseli was tempted to accompany him thither, and they left London the end of November 1769, with the intention of going to Leghorn by sea.

Their voyage, from adverse winds and tempestuous weather, was long and tedious; the monotony of a life at sea, and the qualms which generally affect landsmen in such a situation, were not fitted to allay the naturally irritable tempers of Armstrong and his companion: they at first became dissatisfied with their situation, then with each other, and finally quarrelled about the p.r.o.nunciation of an English word; Fuseli pertinaciously maintaining that a Swiss had as great a right to judge of the correct p.r.o.nunciation of English as a Scotsman.

After a tedious pa.s.sage of twenty-eight days, the ship was driven by a gale of wind into Genoa, where Fuseli and Armstrong parted in a mood far from friendly. Armstrong took the direct road to Florence, where he intended to reside. Fuseli went first to Milan; here he remained a few days to examine the works of art, and then pa.s.sed a short time at Florence, on his way to Rome, where he arrived on the 9th of February 1770.

Shortly after he had taken up his abode in "the eternal city," he again changed the spelling of his name; this he did to accommodate it to the Italian p.r.o.nunciation; and always afterwards signed, "_Fuseli_."

His views now were to see the stores of art, which had been collected in, or executed at Rome; and subsequently, to examine with care each particular specimen, for his future improvement. He did not spend his time in measuring the proportion of the several antique statues, or in copying the fresco or oil pictures of the great masters of modern times; but in studying intensely the principles upon which they had worked, in order to infuse some of their power and spirit into his own productions.

Although he paid minute attention to the works of Raphael, Correggio, t.i.tian, and the other great men whom Italy has produced, yet, he considered the antique and Michael Angelo as his masters, and formed his style upon their principles.

To augment his knowledge, he examined living models, sometimes attended the schools of anatomy, and used the dissecting knife, in order to trace the origin and insertion of the outer layer of muscles of the human body. But he was always averse to dissecting, believing the current story, that his idol, Michael Angelo, had nearly lost his life from a fever got by an anatomical examination of a human body in a state of putrefaction.

By such well-directed studies, and by great exertion, his improvement was rapid, and he soon acquired a boldness and grandeur of drawing which surprised the Italian artists, one of whom was so struck with some of his compositions, that, in reference to their invention, he immediately exclaimed, "Michael Angelo has come again!"

In the year 1772, his progress was impeded by a fever, which enfeebled his nervous system. This illness he attributed to the heat of the climate, and to having, in a degree, departed from those regular and very abstemious habits which marked the early part of his life. The fever changed his hair, originally of a flaxen, to a perfectly white colour, and caused a tremulous motion in the hands, which never left him, but increased with age. He has more than once told me, that this indisposition drove his mind into that state, which Armstrong so forcibly describes in "The Art of preserving Health:"

"Such a dastardly despair Unmans your soul, as madd'ning Pentheus felt, When, baited round Cithaeron's cruel sides, He saw two suns, and double Thebes ascend."

Being advised to change the air and scene, he went to Venice, and remained there until he had thoroughly examined the works of art in that city, and regained sufficient strength of body and mind to resume with effect his studies and labours at Rome.

Although he got much employment from those Englishmen who resided at or visited Rome, yet he saved no money, being always negligent of pecuniary concerns. His friends in England were unacquainted with his progress in the arts until the year 1774, when he sent a drawing to the exhibition of the Royal Academy, the subject of which was, "The death of Cardinal Beaufort," from Shakspeare.

In 1775, he visited Naples, studied the works of art in that city, and examined the excavations at Herculaneum and Pompeii.

In 1777, he sent from Rome to England a picture in oil, representing a scene in "Macbeth," for the annual exhibition at the Royal Academy.

In 1778, he took a farewell of Rome, and left his friends there with regret. As a nation, however, he was not very partial to the modern Italians, who, he said, "were lively and entertaining, but there was the slight drawback of never feeling one's life safe in their presence."

This he exemplified by the following fact: "When I was one day preparing to draw from a woman selected by artists for a model, on account of her fine figure, on altering the arrangement of her dress, I saw the hilt of a dagger in her bosom, and on inquiring, with astonishment, what it meant, she drew it, and quaintly answered, 'Contro gl' impertinenti.'"

On his way to Switzerland, he stayed some time at Bologna, Parma, Mantua, Milan, Lugano, and Belanzona. At Bologna, he remained with Sir Robert Smyth, Bart. who, while at Rome, had given him considerable employment. Thence he proceeded to Lugano, from which place he wrote the following letter to Mr. Northcote, who was then studying at Rome:--

"Lugano, 29th Sept. 1778.

"DEAR NORTHCOTE,

"You may, and must think it unfriendly for me to have advanced to the borders of Switzerland without writing to you; but what would have been friendly to you was death to me; and self-preservation is the first duty of the eighteenth century. Madness lies on the road I must think over to come at you; and at the sound of Rome, my heart swells, my eye kindles, and frenzy seizes me.

"I have lived at Bologna as agreeably and as happily as my lacerated heart and boiling brains would let me, with Sir Robert and his lady.

"You, whose eye diverges not, will make the use of Bologna I have not, or at least but very imperfectly: much more than what is thought of, may be made of that place. What I admire, and what I frequented most,--what indeed suited my melancholy best, are the cloisters of St. Michael, in Bosco, near the city. The fragments of painting there are by Ludovico Caracci and his school, and, in my opinion, superior for realities to the Farnese gallery. There is a figure[10] in one of the pictures which my soul has set her seal upon: 'tis to no purpose to tell you what figure--if you find it not, or doubt, it was not painted for you; and if you find it, you will be obliged for the pleasure to yourself only. Still in that, and all I have seen since my departure, Hesiod's paradox gains more and more ground with me,--'that the half is fuller than the whole,'

or, if you will, full of the whole.

"At Mantua I have had emotions which I had not apprehended from Julio Romano, at Rome: but the post going, I have not time to enter into so contradictory a character.

"The enclosed[11] I shall re-demand at your hands in England. _Take need of the mice._ Of Rome, you may tell me what you please. Those I should wish to know something about, you know not. I have written to Navina in the Bolognese palace; pray give her my best compliments _e dille che quando sar in Inghilterra trover qualche opportunita di provare, prima del mio ritorno in Italia, che non sono capace di scordarmi dell' amicizia sua_. To Mr. h.o.a.re I shall write next post.

"Love me,

"Fuseli.

"P.S. I have been here (at Lugano) these eight days, at the house of an old schoolfellow of mine, who is governor of this place.

"a Mons. James Northcote, a Roma."

In Italy he became acquainted with David and other artists of note, as well as with several Englishmen distinguished either for rank or talents. With the Hon. George Pitt (the late Lord Rivers,) he there became very intimate, and he was flattered by his friendship and patronage, which he enjoyed during the whole of his life.

The necessary employment of his time in painting, and studying works of art, during several of the first years of his residence in Italy, was such as to leave little opportunity for other occupations, and he found, to his regret, that he had either lost a great deal of his knowledge of the Greek language, or, what is more probable, that he had never possessed it in that degree which he flattered himself he had attained while at college. Determined, however, to regain or acquire this, he now studied sedulously the Grecian poets, made copious extracts of fine pa.s.sages from their works, and thus gained, in the opinion of the best judges, what may be called, at least, a competent knowledge of that language.

Although Fuseli's professional talents were much admired, and highly appreciated in Italy, yet, as he did not court it, he never obtained a diploma, or other honour, from any academy in those cities in which he resided, or occasionally visited. Indeed, he refused all overtures which were made to him on this subject; for he considered that the inst.i.tution of academies "were symptoms of art in distress."

Having arrived at Zurich the end of October 1778, after an absence of sixteen years, his father, who had taken great pains, in early life, to check his love for the fine arts, and to prevent his being an artist, was now gratified by witnessing the great proficiency he had attained: and he knew enough of the state of the arts in Europe to feel that his son did then rank, or would shortly, among the first painters of his time. During a residence of six months with his family, he painted some pictures; among them "The Confederacy of the Founders of Helvetian liberty," which he presented to, and which is still preserved in, the Senate-house at Zurich. Lavater, however, did not consider this picture a good specimen of his friend's powers, particularly as to colouring, and expressed his distaste to this in such strong terms, as were by no means gratifying to him.

Fuseli was always very susceptible of the pa.s.sion of love. But when at Zurich, in the year 1779, his affections were gained in an extraordinary degree by the attractions of a young lady, then in her twenty-first year, the daughter of a magistrate, who resided in the "Rech" house of Zurich. This lady, whom he calls in his correspondence, "Nanna," had a fine person, lively wit, and great accomplishments, and among the latter, her proficiency in music was considerable, which is celebrated in a poem by Goethe. It appears that she was not indifferent to him; but her father, who was opulent, considered that her marriage with a man dependent upon the caprice of the public for his support, was not a suitable connexion for his daughter, and he therefore withheld his consent to their union. This disappointment drove Fuseli from Zurich earlier than he intended; and it would appear by his letters, that his mind, even after his arrival in England, was almost in a state of phrenzy. He, some time after, however, received the intelligence that "Nanna" had given her hand to a gentleman who had long solicited it, Mons. le Consieller Schinz, the son of a brother of Madame Lavater; and thus his hopes in that quarter terminated.

In April 1779, he took a last farewell of his native country and family, and returned to settle again in London. On his way to England, in order to improve his knowledge in art, he travelled leisurely through France, Holland, and the Low Countries, examining in his route whatever was worthy of notice.