of the rest of the respective parties. Whatever opinion Mr. Fuseli may have entertained of the powers of his antagonist, it is certain that Doctor Geddes was not very deeply impressed with those of Mr. Fuseli, and that he scarcely allowed him the merit to which he is actually entitled. When, therefore, he found in Mr. Cowper's preface, that instead of consulting the profound erudition and sterling authorities of Stephens, Clarke, Ernesti, and Velloison, he had turned to Mr. Fuseli as his only oracle, and had gloried in submitting to the whole of his corrections and emendations: to his disappointment at the inadequacy of the version, was added a contempt of the quarter to which he had fled for assistance. "Geddes resolved to translate Homer, and in the beginning of 1792, published a translation of the first book as a specimen. In the preface he says, 'I beg leave to assure my readers that neither Fuseli nor any other profound critic in Homer, has given me the smallest assistance; the whole merit or demerit of my version rests solely with myself.' The attempt failed, and he never succeeded beyond the first book." 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. 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 welltimed 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." In May 1788, the Analytical Review was commenced by Mr. Johnson, and he entered into engagements with most of the authors whose works he published, to write criticisms for it. Fuseli, of course, was among the number; and he wrote, during the progress of that work, which continued until December 1798, upwards of eighty articles, some of which were long and laboured criticisms, while others were only brief notices of the contents of the books. As his knowledge was general and extensive, so he was employed in several departments of literature, and reviewed works on the classics, history, the belles lettres, physiology, geography, and the fine arts. Fuseli not only took an interest in his own criticisms in this Review, but frequently defended those of others. When the authenticity of the Parian Chronicle was doubted by the Rev. Joseph Robertson, in a work which he published, it was reviewed and confuted by the Rev. John Hewlett. Robertson replied to this very angrily; and on Mr. Hewlett's being urged, in the hearing of Fuseli, not to let this reply pass without observation, he immediately said, "Answer it! no, by G--d, |