The life and writings of Henry Fuseli Volume I Part 17

"Dear Sir, "Your's truly, "Jos. Farington."

"To Henry Fuseli, Esq."

"March 31, 1801.

"DEAR SIR,

"Last night I saw Mr. Daniell, and this morning another person who was at the Academy last night. The room, I am informed, was more crowded; a proof of spreading reputation, and the satisfaction general.

"More encouragement to succeed cannot be required.

"Dear Sir, "Your's very sincerely, "Jos. Farington."

"To Henry Fuseli, Esq."

These lectures Fuseli published in the month of May 1801, in a quarto volume, which was dedicated to his friend, William Lock, Esq. of Norbury Park. As they have been long before the Public, it is unnecessary now to speak of their merit; suffice it to say, that they have been translated into the German, French, and Italian languages.

The publication of Fuseli's lectures having made a great sensation among artists, and that on ancient art in particular having been much canva.s.sed by them as well as by antiquaries, he wished to gain, and, if he saw fit, to embody in future editions, as much information as could be obtained on this subject; he therefore made application to his friend the late Sir Henry Englefield, Bart. for his observations upon the Vases of the ancients, commonly called Etruscan, which that gentleman gave him in the following letter:

"Tilney Street, August 24, 1803.

"DEAR SIR,

"At your desire, I communicate to you such observations on the ancient Vases, commonly called Etruscan, as a minute examination of many of the finest specimens in the magnificent collection of Mr.

Thomas Hope, and the select and very beautiful one belonging to Mr.

Edwards, have enabled me to make, particularly with respect to the mechanical process used in the decoration of them.

"The material of these vases is clay of a very fine and close quality, extremely light, and of a colour nearly the same in all, a light and agreeable orange red.

"They all, without exception, are covered with a varnish or glazing of a dark colour, but not in all of the same tint; in some, it has a greenish hue, and a l.u.s.tre of a metallic appearance; this is most striking in those found near Nola. In many, the varnish is of a brown black, like asphaltum.

"The vases may be ranked in four cla.s.ses.

"1. Those covered with varnish without ornament or painting of any kind.

"2. Those which bear on the natural ground of the ware, figures in black varnish.

"3. Those whose figures are left in red, the vase being covered with varnish.

"4. Vases covered entirely with varnish, on which ornaments are painted in colours.

"Of the first sort it will be necessary to say but little. Many of the most exquisitely formed Nolan vases are of this sort. The varnish appears to have been laid on while the vase was on the lathe. The parallel strokes visible on the surface of the varnish, and its extreme equality of tint, prove this. No better mode can be devised for varnis.h.i.+ng, except dipping the ware into the liquid varnish; and this was not done in these vases, as the varnish never covers the hollow of the foot, nor descends deep within the neck. I cannot at all say whether the vase was varnished while yet wet, or first suffered to dry, or even baked a first time, as is the process in much of our common modern glazed earthenware.

"The second sort bear in general marks of the most remote antiquity. The figures are universally of a stiff and meagre form, the drapery close, and the folds few and hard. Yet in many the composition is good, and the action of the figures vigorous. They exactly resemble in style the bronzes still remaining of Etruscan work.

"The mode pursued in painting them was this:

"The intended figure was painted without any previous discoverable outline in varnish, and then resembled exactly those figures so common under the name of Silhouettes. When the varnish was quite dry and hard, the features, the limbs, and the folds of the drapery, &c. were scratched through it with a pointed tool, which was applied with such force as to cut some depth into the clay of the vase. This sort of outlining was sometimes carried round parts of the contour, which appeared to the artist not sufficiently distinct without it. The hands and fingers are often thus partially scratched out. Parts of the drapery and ornaments on the heads of the figures were then covered with a coat of coloured paint. Violet occurs most frequently; often a green, and sometimes white. In some vases of the most ancient and rudest appearances, animals, particularly birds, are coloured not only with these colours, but also red and yellow; and the appearance and style of these vases have a great resemblance to the Egyptian paintings on their mummy chests. The vases of this sort are said to be universally found in the deepest graves, so deep indeed, that over them sepulchral chambers of a later date, with vases of a totally different character are often found. That the colours above-mentioned were put on after the outline was scratched in, is ascertained by the circ.u.mstance of the colours having in many instances run into, and partially filled up, the strokes engraved in the vases. This species of painting is evidently the first improvement on the simple Skiagrams.

"The vases of the third description, namely those whose figures are left in red, on a ground of dark varnish, are by much the most common of any, and are found of all degrees of excellence, from the most careless and slight finis.h.i.+ng, to the most exquisite work; but in all, the style of design is essentially different from those described above, with the figures in black. In the red figures, however negligently executed, there is a fulness of form, and a freedom of drapery perfectly similar to the remains of Greek art which have reached us, whether in sculpture or coins.

"The process also of this execution is entirely different from the second sort, and will be now minutely described from repeated observations of many of the most exquisite of them, made not only with the naked eye, but with gla.s.ses of high magnifying power.

"The first thing painted on these vases was an outline of the figures, not only of their contour, but the markings of the features, muscles, folds of the drapery, ornaments, &c. This outline, in those vases which are of fine execution, was made with an instrument which carried a very fine and equal point, and at the same time left a very full body of the colour used on the vase. The colour itself appears to have been of a thick consistence; for if the strokes, even the finest, (which are as fine as could be made by a good pen,) are carefully examined with a magnifier in a side light, it will be distinctly perceived that there is a slight hollow in the middle of each, owing to the colour having flowed round the point which traced it, and met behind it,--just as we see in a road where the mud is of a semi-fluid consistence, that the track of a wheel is filled in with the pasty mire, leaving a depressed line in the centre of the rut.

"It is impossible to say whether the instrument used for these outlines was of the nature of a pen or a brush; yet I am inclined to think from the flowing appearance of the lines, that a firm and finely pointed brush or pencil was used. Whichever it was, the hands which guided it possessed a steadiness and freedom of execution, almost incredible. Lines of a great length and difficult curvatures are carried over the convex surface of the vases, without the least wavering or indecision, or any lifting the point from the vase, or any repet.i.tion, or filling up of the stroke. An attentive examination of the outline will ascertain this fact beyond a doubt, and a further proof of it may be drawn from the few instances in which strokes of very great length have been done at twice, particularly in a vase of great size and admirable execution in the collection of Mr. Hope, representing probably the story of Triptolemus, where the long parallel lines marking the feathers of the wing of a Genius have been suspended about half way; and no particular care has been taken to conceal the junction of the lines.

"This vase also furnishes a very rare and instructive instance of what, by artists, are called _pentimenti_, or changes of design.

The wheel of a chariot and part of the arms of a figure, with a patera or cup in the hand, have been considerably varied; and the first outline is still visible like a faint red chalk stroke, but without any appearance of enlargement or smearing, so that it should seem that the false stroke was sc.r.a.ped off by a sharp edge, carefully applied to the surface of the vase when the varnish or paint was nearly dry.

"That the outline was performed with this freedom and celerity, and scarcely ever altered, may be further inferred, from the great inaccuracies of drawing so frequent even in those vases whose design and execution are of the very highest cla.s.s. Perhaps an absolutely unerring precision of hand has never been the lot of any artist, however excellent. The drawings of the greatest masters prove that they found many things to alter in their most careful first lines; and the union of excellence and defect on the vases can, I think, only be accounted for in the supposition of an unaltered line.

"What has been hitherto said of the mode of outlining this sort of vases is applicable only to the finish of them. In those of inferior finish, the outlines are much thicker, and laid on with a less body of colour; and in many of the coa.r.s.est, there is reason to think that no outline at all was made, but that the figures were merely left red in the general wash of the vase, with the dark-coloured varnish, and the outlines of the features, folds of the drapery, &c. were put in with a large brush, and in a very careless manner. Indeed, on the very finest of the vases, the subordinate decorations, such as the honeysuckle (as it is called) ornament so frequent under the handles, were simply left red in the general wash of varnish over the body of the vase; at least no outline of them is now discoverable. To return to the painting of the finest vases. The outline already described being perfectly dry, the artist with a brush or other similar instrument which bore a full body of colour and made a stroke of about a quarter of an inch in breadth, went carefully round the contours of the outlined figures. In this operation, an opportunity was given to make slight alterations in the design, and in some degree to amend the contour.

This seems to have been often done; for the original outline is often covered in parts by this wash, and appears projecting from the surface of the vase under it; affording also a proof that the outline was dry and hard before this wash was laid on. Frequently, also, this wash does not come quite up to the original outline; but in general the wash follows the outline in a most steady and masterly manner. Probably at this time the hair of the figures was put in with a thin wash of the same varnish or colour, managed with peculiar freedom and dexterity, and so washed out to nothing at the extremities of the flowing curls of the tresses, as to have the lightest and at the same time the most finished effect. It is to be observed that the hair, which in some parts is as dark as the ground of the vase, is not carried quite to the ground, but that a small s.p.a.ce is left red round the hair, in order to relieve it from the ground of the vase.

"The truth of the contour being thus secured by this narrow border of ground carefully laid on the covering, the remaining surface of the vase with its varnish, might be safely entrusted to an inferior hand. That the varnish was laid on at twice, is evident by inspection of any well-finished vase, where the first narrow line of varnish is distinctly visible under the general wash.

"This process finished the greater part of the vases, even the finest; but on some, particularly those of the largest size, when every thing else was quite dry, some parts of the design were coloured with washes of two different tints. The horses and parts of the armour are painted with white, which when dry is opaque, but when wetted becomes nearly transparent. Parts of the drapery and ornaments round the necks and on the heads of the figures, and some of the s.h.i.+elds, are painted yellow, and several small flowers and ornaments of foliage, which are interspersed among the figures, are painted in white and yellow. The internal outlines and muscles of the horses are painted with lines of a light orange on the white; and the white s.h.i.+elds are ornamented in the same manner. That the white horses were painted after the original black outline of the human figures was dry, is evidently seen in the magnificent vase in the possession of Mr. Edwards. In that vase a leg of one of the horses comes across the thigh and drapery of a figure, and the original outline of that figure is visible under the white colour which forms the horse's leg. All these colours are so fixed on the vases, probably by fire, that they resist the action of aquafortis.

"The vases of the last sort, namely, those which have ornaments in white and other colours painted on a black ground, which covered the whole surface of the vase, are very rarely to be met with. Mr.

Hope possesses several, which Sir William Hamilton told me were all found in one sepulchral chamber, in which none of any other sort were placed. The cause of this singularity it were vain to enquire. No figures are represented on these vases, but the ornaments are light wreathes of ivy, or vine-leaves, with masks and other baccha.n.a.lian symbols. The execution is careless, but spirited; the paint used seems of the same quality with that above described as covering the horses, &c. in vases of the third sort; and the mode of applying it appears in no wise to differ from what would be now pursued. It is not, therefore, necessary to say any thing further on this subject.

"It is singular that on vases so profusely adorned with painting, scarcely an instance of any thing like bas-relief or sculpture of any kind occurs; on the handles of Mr. Edwards's great Vase, two full faces in very flat relief are seen; but, con rispetto parlando, is it quite certain that these handles are entirely ancient?

"These are the observations which a very careful examination has enabled me to make on the mechanical process used in adorning the ancient earthern Vases called Etruscan. To your judgment, Dear Sir, I submit them, confident that you will, _Si quid novisti rectius istis, Candidus_--rectify my errors.

"I am, with sincere regard, "Your obliged and faithful, "H. Englefield."

"To Henry Fuseli, Esq. R. A."

Early in the year (1801) Fuseli was much dejected by the intelligence of the death of his old and esteemed friend and fellow-student, Lavater.

This singular man fell a sacrifice to what he considered his clerical duty; for, when Zurich was occupied by the French, in an attempt to afford consolation and alleviation to the sufferings of his townsmen, which usually accompany the presence of an invading army, he was stabbed by the bayonet of a soldier, under which wound he languished for some months, and closed a valuable and useful life on the 2nd of January, 1801.

The treaty of peace which was signed at Amiens in 1802, afforded the English an opportunity of visiting France, and examining those treasures of art which Buonaparte had torn by violence from Italy, Germany, and Holland, when those countries were subjected to him, in consequence of the conquests of the French armies. Fuseli being determined to view them, went to Paris, accompanied by some friends, with the intention also of collecting materials for publis.h.i.+ng, for the information of travellers, a critical account of the princ.i.p.al pictures and statues which then adorned the Louvre. The party consisted of Mr. Farington, R.A. Mr. James Carrick Moore, Mr. Halls a young artist, and himself.

Urgent business compelled Mr. Moore to return to London earlier than he had antic.i.p.ated; but the remainder of the party pa.s.sed six weeks in Paris, during the months of September and October, whence Fuseli wrote to Mr. Moore the following letter:--

"DEAR MOORE,

"I had once a valuable friend in the Rev. Mr. Whalley, who took great pains to improve me by his correspondence; he was able at all times to write faster than he could think; from which you probably might be led to surmise that his epistles would have been fuller of news than observations--you would be mistaken; they were essays crammed with trite observations, such as delight in a magazine;--news I never heard from him. If I except _you_, I must own that all my correspondents on your side of the water are very like him. Your letter from Dieppe gave me some useful information, such as might preserve my knee from another _synovia_,[49] or my neck from a crick; and if you took more delight to penetrate my character than to fit me for a trip across the water, in your last, you have at least convinced me that you thought more of _me_ when you wrote, than of _yourself_,--a phenomenon that at once decides your character in my mind, and furnishes me with a master-key for _your_ heart; in any other way you would have found poor Harry

'Too shallow, much too shallow, To sound the bottom of his Jemmy's mind.'

"I am, I hope, in the last week of my stay in this paradise of mud, and fricandeaus. G.o.d! what additional ecstasies you have lost by your precipitate flight! So many pictures, which would have exercised your critical faculty; the _Apotheosis of St.

Petronilla_, by Guercino, in which a colossal dowdy on this side of the grave is transformed to a celestial beauty on the other; the _Fontana d' Amore_, by t.i.tian, a picture which transports you to the plains of Arcadia, or the vale of Enna; the whole-length of Cardinal _Bentivoglio_, by Vandyck--a soul personified--a male soul, I mean: for the mirror of all female spirit, soul, mind, and graces, would have been held up to you by t.i.tian again, in the portrait of _his Mistress_ untwining her ringlets, or, as Petrarch would have called them, her