66 DEAR SIR,

66

London, June 21, 1804.

"Give me leave to return you my warmest thanks for your kindness. Though my circumstances did not permit me to spend as many hours as I could have wished under your hospitable roof, every moment I passed with you and Mrs. Johnson, added some new obligation to those which you had already heaped on me and mine, and it will be one of my warmest wishes to be able to shew, at some time or other, that my gratitude lies deeper than my lips.

"I have spent a day or two at Purser's Cross, which is the name of your Uncle's place; though in the neighbourhood of London, it is a sweet retired and healthful spot, and if he could be persuaded to spend more of his time at it, must be eminently conducive to his health. I hope Mrs. Johnson has not forgot her promise, to come and reside and nurse him there, as soon as it is in her power.

"Please to present my best compliments to all the friends I saw at your house, or in your

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.

IN June 1825, Mr. Bonnycastle, late Professor of Mathematics to the Royal Military College at Woolwich, who had then been the intimate friend of Fuseli for twenty-five years, introduced me to him, having observed previously to this introduction, that I should find him a man of the most extensive knowledge, quickness of perception, ready wit, and acuteness of remark, that I had ever met with. This introduction was soon followed by daily intercourse between Fuseli and myself, which ripened into the sincerest friendship, and was

the cause of my passing with him many of the happiest hours of my life.

In the year 1805, some of the booksellers wishing to publish an improved edition of Pilkington's Dictionary of Painters, applied to Fuseli, through Mr. Johnson, to be the editor. In consequence of the solicitation of this friend, he accepted the task, but with reluctance, as he had a mean opinion of the work, and constantly designated its author a driveller. To the original he added a great number of names, and either re-wrote the lives, or inserted in notes the characters of most of the principal painters of the several schools.

At this period, a number of noblemen and gentlemen, zealous for the encouragement of the fine arts in England, especially historical painting, established the British Institution, and Fuseli was solicited to send thither some pictures for exhibition and sale. He, however, had no high opinion of the scheme; for although, in common with other artists, he wished it to succeed-for he held that "the man who purchases one picture from a living artist, which may have some pretensions to the highest class of art, does more real service to the fine arts than he who spends thousands upon the works of the old masters;" yet he thought, to use his

own words," from the colour of the egg, it was more likely to produce an ichneumon than a sphynx;" and expressed reluctance to be a contributor. Mr. Coutts, who used every endeavour to promote the establishment and the prosperity of the British Institution, advised him to become an exhibitor, and to send, among other pictures, "The Lazar-house," observing, "I never intended to deprive you of this, it is yours, and therefore sell it, if you can.” In addition to this picture, the price of which was fixed at 300 guineas, Fuseli sent "The Nursery of Shakspeare," for which he asked 150 guineas; and "Christ disappearing at Emaus:" the price he put upon this was 100 guineas. The leading members of the Institution hesitated to admit that admirable production of his pencil, "The Lazar-house," considering the subject too terrible for the public eye; and they had three meetings before they came to the resolution of exhibiting it. This hesitation on their part, a slight degree of damage which "The Nursery of Shakspeare" sustained in its removal from the rooms, and the not finding a purchaser for either of the pictures, made Fuseli resolve never to exhibit there again, to which resolution he pertinaciously adhered.*

* The British Institution was opened for the first exhibition, on the 18th of January, 1806.

In 1806, he painted from Dante, Count Ugolino being starved to death with his four sons in the Tower, which, from that circumstance, was afterwards called, "Torre della Fame;" this picture, as it came in competition with that well known subject from the pencil of Sir Joshua Reynolds, was admired and censured more than any other he had previously produced. Fuseli took the moment when Ugolino is petrified by his situation,-"bereft of tears, his heart is turned to stone;" he has represented him in a sitting posture with his youngest son stretched dead over his knees, while the other three are either writhing under the agonies of hunger, dying, or given up to despair. This picture (now in my possession) is as superior in drawing, in truth to nature placed under such circumstances, and to the story, as Sir Joshua's soars above it in colour, in manual dexterity, and in chiaroscuro.

Mr. Blake, who was not only a celebrated engraver, but known also for his original designs, distributed this year (1805) a prospectus for publishing an edition of the poem of "The Grave" of William Blair, to be illustrated with fifteen plates designed and engraved by himself. This work was patronized by the names of the principal artists of the day; but