The life and writings of Henry Fuseli Volume I Part 1

The Life and Writings of Henry Fuseli.

Volume I.

by John Knowles.

CHAPTER I.

Fuseli's birth and family.--Pa.s.sion 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 a.s.sociates 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.

As there is a natural wish in mankind to be made acquainted with the history of those men who have distinguished themselves by any extraordinary exertion of talent, so we always experience regret when we look to the biography of a celebrated man, if we find the details scanty, or the particulars respecting him resting for their accuracy upon the uncertainty of oral communication, made after a lapse of several years.

Although the mind of an author may, at a remote period, be appreciated by a perusal of his works, and the capacity and talents of an artist be judged of by the powers of invention which he has displayed,--by the harmony of his colour and the style and correctness of his lines; yet these do not completely satisfy; we wish the more to see him in his closet, to pursue him into familiar life, and to be made acquainted with the paths which he trod and the mode of study which he adopted to arrive at eminence. Who does not feel this impulse when he peruses the meagre accounts we have received of Shakspeare or Correggio? although the utmost efforts of industry have been employed to collect facts relating to these extraordinary men.

It is with such feelings that I attempt to give some particulars of the life and professional career of Henry Fuseli, while they are fresh on the memory; for if the biography of any particular man be not written during his lifetime, or shortly after his decease, we recollect perhaps only a few circ.u.mstances, and fill up the record by guessing at the rest.

Many of the incidents which I am about to relate respecting Mr. Fuseli were communicated by himself; for I had the happiness of enjoying his friends.h.i.+p uninterruptedly for twenty years, and was almost in the daily habit of seeing and conversing with him until the last period of his existence. Other particulars I have collected from some of his relations and friends, and gleaned much from his private papers, which fell into my possession, as executor to his will. The facts may therefore be relied upon, and they will, at least, a.s.sist some future biographer: for I feel the difficulties under which I must unavoidably labour, in attempting to display the powers of a highly gifted man, and an eminent professor in an art which requires the study of years, nay of a whole life, to understand in any competent degree.

Henry Fuessli (for such is the family name), the second son of John Caspar Fuessli, was born on the 7th February, 1741, N.S. at Zurich, in Switzerland, which city had been the native place of his family for many generations.

His father, John Caspar, a painter of portraits and sometimes of landscapes, was distinguished for his literary attainments; when young, he had travelled into Germany, and became a pupil of Kupetzky, the most celebrated portrait painter of his time. He then resided for some time at Rastadt, as portrait painter to that court; and afterwards went to Ludswigsbourg, with letters of recommendation to the Prince of Wirtemberg, and was particularly patronized by him.

In the war of 1733, a French army having entered Germany, threw every thing there into confusion, on which Fuessli withdrew from the scene of military operations, to Nuremberg, and remained in that city for six months, in expectation of a termination of hostilities; but hearing of the fall of his patron, the Prince of Wirtemberg, in the field of battle, he returned to Zurich, and settled in Switzerland for life.

Shortly after his return to his native city, he married Elizabeth Waser, an excellent woman, but of retired habits, who confined her attention to the care of her house and family, and to the perusal of religious books.

By this marriage he had eighteen children, three of whom only arrived at the age of manhood;--Rodolph, who followed his father's profession as a painter, and afterwards, settling at Vienna, became librarian to the Emperor of Germany; Henry, the subject of this Memoir; and Caspar, well known for his able and discriminative works on entomology.

Although John Caspar Fuessli, the father, had travelled much, and was not unacquainted with the manners of courts, and could practise, when he thought proper, those of a courtier, yet he had a.s.sumed the carriage of an independent man of the world, and acquired an abrupt and blunt manner of speaking. Yet, as he was endowed with learning and possessed of talents, his house was frequented by men the most eminent in literature and in the arts, in Zurich and its neighbourhood. He was also an author, and, among other works, published the Lives of the Helvetic Painters, in which he received considerable a.s.sistance, both in its arrangement and style, from his son Henry. This he was enabled to do, notwithstanding, to use his own words, "in boyhood, when the mind first becomes capable of receiving the rudiments of knowledge, he had not the advantage of the amalgamating tuition of a public school."[1]

Henry Fuseli not only profited in his early years by the instruction of his parents, but also by the society which his father kept; indeed, he may be said to have been rocked in his cradle by the Muses,--for Solomon Gessner was his G.o.dfather. This poet and painter was the intimate friend of the elder Fuseli, and addressed to him an elaborate letter on landscape-painting, which is published in his works. But it was to his mother that Henry considered himself chiefly indebted for the rudiments of his education: she, it appears, was a woman of superior talents, and possessed, in a high degree, the affection and grat.i.tude of her children. Even in the latter days of his life, when Fuseli has spoken of his mother, I have seen tears start into his eyes.

Henry Fuseli showed, very early, a predilection for drawing, and also for entomology; but the former was checked by his father, who knowing, from his own pursuits, the difficulty of arriving at any eminence in the fine arts, except a man's whole mind and attention be given to them; and having designed his son Henry for the clerical profession, under the expectation of advantageous preferment for him in the church, he considered that any pursuit requiring more than ordinary attention would draw his mind from those studies which appertain to theology, and thus be injurious to his future prospects. Perhaps, too, his dislike to his son's being an artist may also have arisen from the notion, that he would never excel in the mechanical part of painting; for, in youth, he had so great an awkwardness of hands, that his parents would not permit him to touch any thing liable to be broken or injured. His father has often exclaimed, when such things were shown to his visitors, "Take care of that boy, for he destroys or spoils whatever he touches."

Although the love which Fuseli had for the fine arts might be checked, yet it was not to be diverted altogether; this pursuit, which was denied him by parental authority, was secretly indulged,--for he bought with his small allowance of pocket-money, candles, pencils, paper, &c., in order to make drawings when his parents believed him to be in bed. These he sold to his companions; the produce of which enabled him either to purchase materials for the execution of other drawings, or to add articles to his wardrobe, such as his parents might withhold, from prudential motives.

Many of his early sketches are still preserved, one of which is now in my possession,--"Orestes pursued by the Furies." The subjects which he chose were either terrific or ludicrous scenes: in both these, he at all periods of life excelled: although his early works are incorrect in point of drawing, yet they generally tell the story which they intend to represent, with a wonderful felicity, particularly when it is considered that several of them proceeded from the mind of a mere child, scarcely eleven years of age.

The work which most engrossed Fuseli's juvenile attention was Tobias Stimmer's field-sports: these subjects he copied diligently, either with a pen or in Indian ink, as well as the sketches of Christopher Maurer, Gotthard Ringgli, Jobst Ammann, and other masters of Zurich. These artists, it must be acknowledged, possessed great powers of invention, and had a firm and bold outline, yet their figures are not to be commended for proportions or elegance, and the mannerism of their works was a dangerous example for a student to follow. It is not surprising, therefore, that we find an imitation of their faults in the early drawings of Fuseli; in which short and clumsy figures are generally draped in the old Swiss _costume_.

Although the father seldom or ever attended public wors.h.i.+p, yet he was not ignorant of the principles of religion, and knew what would be expected from his son when he entered upon the clerical profession: in order, therefore, to initiate him in the doctrines which he intended he should teach, he employed a clergyman to a.s.sist him in these as well as to instruct him in the cla.s.sics. From this gentleman he borrowed the most esteemed religious books, which it was his practice, in the evenings, to read aloud to Henry. But while the father was reading the paraphrases of Doddridge, or the sermons of Gotz or Saurin, the son was not unfrequently employed in making drawings; and the better to escape observation, he used his left hand for that purpose. This practice made him ambidextrous during his life.

The tutor soon perceived the bent of his pupil's inclination, who, instead of making his themes, or attending to other studies, was caricaturing those about him; and he told his father that, although he had an uncommon capacity for whatever he undertook with ardour, yet he was so wayward in his disposition, and so bent upon drawing, that it was doubtful whether he would ever become a scholar.

The health of Mrs. Fuessli being in a very delicate state, the family removed a few miles from the city, for the benefit of the air. Henry was at this time about twelve years of age. A residence in the country opened to his active mind a new field for contemplation, in the study of nature; and he now found great delight in what he had before in a degree pursued,--entomology. This study his father allowed him to prosecute, as he considered that the attempt to gain a knowledge of a science

"Which looks through Nature up to Nature's G.o.d,"

would be advantageous to his future walk in life; he therefore indulged his wish, encouraged him to proceed, and furnished him with books by which he could get information respecting the genera of insects, and their habits.[2] And in the pursuit of entomology he was usually accompanied by his younger brother, Caspar, who has written so ably upon this science; and I have often heard Henry enlarge, in glowing terms, upon the pleasurable sensations which he experienced, when a boy, from the freshness of the air, at the dawn of day, when he had been creeping through hedge-rows in search of the larvae of insects, or in pursuit of the disturbed and escaping moth or b.u.t.terfly.

After a residence of two or three years in the country, Henry had arrived at that age when he required and was likely to profit by more profound instructions than he had hitherto received; with the view of affording these, his family resumed their residence at Zurich, and he was placed as a student in the _Collegium Carolinum_, in which he was matriculated, and finally took the degree of Master of Arts.

The secluded life which Fuseli's parents led, particularly while they resided in the country, had confined his juvenile acquaintances to a M.

Nuscheler,[3] and to those youths who received occasional instructions from his father in painting. A college was therefore a new and imposing scene. Although he was then a novice in society, and had from nature a degree of shyness, which was increased by seclusion; yet his acute and discerning mind soon discovered those students who possessed the greatest talents, and with whom he could therefore with the more pleasure a.s.sociate. Accordingly, he formed an acquaintance, which ripened into lasting friends.h.i.+p, with Lavater, Usteri, Tomman, Jacob, and Felix Hess; names well known in German literature.

At this time, the celebrated Bodmer and Breitinger were professors in the Caroline College; they were the intimate friends of the elder Fuessli, (who has transmitted their likenesses to posterity,) and in consequence of this intimacy, they paid more than ordinary attention to the young student. These learned men were, in addition to their other studies, actively engaged in reforming the German language, and in this respect correcting the taste of their countrymen, and they constantly urged their pupils to pursue the same course; for at this period a pure and elegant style was very rare, and therefore considered no mean acquirement.

A naturally strong const.i.tution, with considerable elasticity of mind, enabled Fuseli to pursue his studies for many hours in each day without interruption. In fact, he was capable of any mental labour, however severe. He attended diligently the usual routine of college studies, and being possessed of a very retentive memory, these were attained or performed without difficulty. He therefore found time to gain a considerable knowledge of the English, French, and Italian languages. He was attracted to these, not only by the desire of travelling at some future period, but that he might be enabled to read some of the most celebrated authors in their own tongues.

He was enamoured with the plays of Shakspeare, and attempted a translation of Macbeth into German. The novels of Richardson, particularly his Clarissa, made a powerful and lasting impression upon his mind.[4] The works of Rousseau were eagerly devoured by him. And the poetic flights of Dante not only aroused his feelings, but afforded subjects for his daring pencil, which, notwithstanding his numerous studies, was not laid aside.

Mixing in society naturally gives to an observing mind a knowledge of men and manners. After Henry Fuseli had attended for some time the college studies, and acquired some degree of confidence in his own powers, he discovered and exposed weak points in some of the professors and tutors who had been held up as examples to the students, and also brought forward the merit and latent qualities of others, who from their modesty had remained without notice, and thus drew them from obscurity.

If he could not attain his object by satire, in which he was very powerful, he sometimes resorted to caricature, a weapon not less formidable in his hands. The wounded pride of some of the masters induced them to draw up a formal complaint against him, and he was threatened with expulsion by the president, which was only a menace to intimidate him, as the heads of the college admired his talents, and were pleased with his a.s.siduity.

In reading the Holy Scriptures (which he did diligently), the cla.s.sics, or the modern historians or poets, Fuseli's mind was most powerfully attracted by those incidents or expressions which are out of the ordinary course, and he frequently embodied them with his pencil. Bodmer perceiving this bent of his mind, recommended him to try his powers in poetry, and gave him, as models for imitation, the works of Klopstock and Weiland. The former were considered by Henry to be master-pieces; he caught the inspiration, and published, in a weekly journal called the "Freymuthigen Nachrichten,"[5] an ode to Meta. This was so much in the spirit, and so near an imitation of Klopstock's style, that the ardent admirers of this great poet attributed it to him, and which was believed by all who were not in the secret. He also attempted a tragedy from the Bible, "The Death of Saul," which was also highly commended.

It is but reasonable to suppose, that Bodmer would endeavour to instil into the mind of a favourite pupil a love for the abstract sciences, in the knowledge of which he was himself so eminently skilled: but for these Fuseli showed an utter distaste, which continued during the whole of his life. He has more than once exclaimed to me, "Were the angel Gabriel sent expressly to teach me the mathematics, he would fail in his mission." And he has frequently dilated upon the annoyance which he felt, when discovered by any one of the tutors to be engaged in some favourite pursuit, by his putting, in Latin, an abrupt and unexpected question in physics, such as, "_Quid est calor, Henrice Fuessli?_"

In the year 1761, Fuseli and his intimate friend Lavater entered into holy orders. The state of pulpit oratory, at this time, in Zurich, is thus described by a kinsman[6] of the former: "The Dutch method of a.n.a.lyzing was at this time in vogue in our pulpits. By aiming at popularity, the language was often reduced to the lowest strain, and to mere puerilities. The subjects were chiefly dogmatical; and if a moral theme was introduced, their sermons betrayed no knowledge of mankind: they were mostly common-place declamation, deficient in precision and just discrimination. Exaggeration prevented the backslider from applying the description to himself; and as the way to reformation was neither intelligibly nor mildly pointed out, he was rather irritated than corrected.

"Even the most distinguished preachers lost themselves in long and tiresome discourses, wandering either through the barren fields of scholastic or academic exercises, of little interest to a common audience; or else they spun out labyrinthine allegories.

"Others tried to excite the feelings by doctrines that bordered on mysticism or Moravianism; and there were those who made simplicity their aim, not the n.o.ble but the coa.r.s.er species, descending to vulgarity and meanness to flatter the popular taste, and endeavouring to disguise vacuity and sameness by low comparisons, little tales, and awkward imagery.

"Some were to be found who, in their zeal for doctrinal faith, abused morality and philosophy, and bestowed the nickname of "_Taste-tellers_" on those who took a different course, and aimed at a better mode of address."

Klopstock, Bodmer, Weiland, Zimmerman, S. Gessner, and some others, feeling how defective pulpit oratory was at Zurich, had laboured to bring about a better style of preaching, but without much effect.

Fuseli, upon entering into holy orders, determined to regulate his efforts, and by the advice of these learned men, he chose Saurin's sermons as models of manner and arrangement; but with the view of conveying his sentiments so as to produce the greatest effect upon his audience, adopted the more inflated language of Klopstock and of Bodmer.

As his reputation stood high at college, and as his society was coveted for the power which he displayed in conversation, and for his deep knowledge in the cla.s.sics and in sacred and profane history; so, a great degree of curiosity was excited among his friends, as to the success of his probationary sermon, which he knowing, with characteristic humour, took his text from the 17th chapter of the Acts of the Apostles, 18th verse, "What will this babbler say?" and preached against the pa.s.sion of curiosity.

The new mode of preaching which Fuseli adopted and carried into many of the pulpits of Zurich; the novelty of the style, the originality of the ideas, and the nervous language which he used, pleased "the judicious few;" but it was "caviare to the general;" and hence the youthful preacher gained no great degree of popular applause. His friends, and Bodmer in particular, prompted him to persevere in the course which he had commenced, a.s.suring him, that, in the end, it would be crowned with success; but at this time an incident happened, which gave a turn to his pursuits in life.

The works of Rousseau, Voltaire, and others, who were then endeavouring by their writings to bring about a reform in the political and moral conditions of society, warmed his imagination, and he, Lavater, Jacob and Felix Hess, (who were not less influenced,) were determined to exert themselves, to benefit those of their native city. An opportunity was soon presented to their active minds. Rumour had been for some time busy with the character of a ruling magistrate, the high land-bailiff Grebel, ascribing to him various acts of tyranny and oppression, and among others, that of appropriating to himself property, and bidding defiance to the rightful owners. This he considered he might do with impunity, not only by the power which he possessed from his high situation, but also from that which he derived from his father-in-law, who was the burgomaster of Zurich.

The young friends made diligent inquiries into these charges, and found that there were ample grounds to justify the reports which were current.

Their indignation was aroused, and they sent an anonymous letter to the magistrate, threatening him with instant exposure if he did not restore the property. Grebel, relying too much upon the feeling of security which power creates, took no notice of this letter. Upon which Fuseli, and Lavater in particular, excited farther by his contempt, resolved to make the cause of the injured party their own, and accordingly wrote a pamphlet, ent.i.tled, "The Unjust Magistrate, or the Complaint of a Patriot," in which they detailed, in forcible and glowing terms, the acts of oppression which had been committed, and called upon the Government to examine into the facts, and punish the offender.

This pamphlet they industriously circulated, and took care that it should fall into the hands of all the princ.i.p.al members of the government. The manly tone in which it was written, and the facts adduced in support of the accusation, made such an impression on the council of Zurich, that it was stated from authority, if the author would avow himself, all the circ.u.mstances should be inquired into, and the facts carefully examined.

Upon this, Fuseli and Lavater, who were the ostensible persons, boldly stepped forward, and acknowledged themselves the authors. Evidence was taken, and the truth of the accusation established to its utmost extent.

An upright judgment was awarded; the property restored; and the guilty magistrate then absconded, to avoid the personal punishment so justly due to his crimes.

Of this incident, which perhaps was the most important of Fuseli's life, as it was the cause of his quitting his native country, and changing his profession, he very seldom spoke; and during the whole term of our acquaintance, never mentioned the particulars but once, and then remarked, "Although I cannot but reflect with some degree of satisfaction upon the correctness of our feeling, and the courage which we displayed, yet, situated as we and our families then were, it evinced precipitation on our part, and a want of knowledge of the world."

This spirited act, on the part of Fuseli and his friends, was for some time the theme of public conversation at Zurich, and their patriotism was greatly applauded. But the disgrace which had fallen, by their means, on the accused, was felt by his powerful family, who considered, that, from their connexion with him, a part of the ignominy fell upon themselves. The tendency and natural consequences of such feelings were properly appreciated by the respective families of the young men, and they considered it prudent to recommend them to withdraw for a time from the city.