The life and writings of Henry Fuseli Volume I Part 24

He possessed such a degree of pride and self-love in this particular, that if he thought himself slighted, he would resent it, whatever might be the rank or condition of the man: this has been witnessed on several occasions, one of which now recurs to my memory. I accompanied him to a private view of a picture, "The Trial of Queen Caroline;" after we had been in the room a few minutes, he pointed out a clergyman, and said, "That is Howley, the Bishop of London; he and I were very intimate.

Before he became a dignitary of the church, he used to come to my house frequently, and sit there for hours together; but for some years he seems to forget even my person." Shortly after, Lord Rivers came into the apartment, and accosted Fuseli in his usual jocular manner, and perhaps not knowing that he had been acquainted with the Bishop, took an opportunity of introducing him. Fuseli immediately said, "I have seen his Lords.h.i.+p before now," and turned upon his heel.

It has been shewn, that Fuseli was educated for the clerical profession, and as a requisite for this, he studied the cla.s.sics in early life, in order to attain a knowledge of what are called the learned languages: taste led him to continue this study, in which he afterwards proved so eminent; he wrote Latin and Greek accurately, and has often puzzled learned Professors in their attempts to discover whence the pa.s.sages were derived, when he clothed his own original thoughts in cla.s.sical language. He was not ignorant of Hebrew; but in this, when compared with Greek and Latin, his knowledge was superficial. In modern languages he was deeply skilled; for he wrote French, Italian, German, and English, with equal facility. On one occasion, when I saw him writing a letter in French, I made the remark, "With what ease, Sir, you appear to write that language!" he answered, "I always think in the language in which I write, and it is a matter of indifference to me whether it be in English, French, or Italian; I know each equally well; but if I wish to express myself with power, it must be in German;"--in which he has left several pieces of poetry. For the pleasure of reading Sepp's work on insects, he gained, late in life, a competent knowledge of Dutch: indeed, he had a peculiar facility of acquiring languages; for in this particular his capacity was most extraordinary. He has told me, that, with his knowledge of general grammar, and with his memory, six weeks of arduous study was quite sufficient time to acquire any language with which he was previously unacquainted. This capacity was evidently owing, in a great degree, to his quickness of perception, and to his possessing a most retentive memory; not of that kind, however, that easily commits to it particular pa.s.sages for _viva voce_ repet.i.tion, and are lost as soon as the object for which they were gotten is pa.s.sed by; on the contrary, what he once attained was seldom or never forgotten. It was a recollection of words as well as things: one or two examples of this will suffice. His friend Bonnycastle also possessed great powers of memory, and he, at Mr. Johnson's table, challenged Fuseli to compete with him: this was immediately accepted. The best mode of trial was submitted to Johnson, who proposed that each should endeavour to learn by heart, in the shortest time, that part of the eleventh book of Paradise Lost which describes a vision shewn to Adam by Michael. Fuseli read this description of the cities of the earth, which is long, and, from the words having little apparent connexion, difficult to be remembered, only three times over, and he then repeated it without an omission or error. Bonnycastle immediately acknowledged himself to be vanquished. When "The Pursuits of Literature" were published, the public were anxious to discover the author, and a friend said to Fuseli, "You ought to know who it is, because he quotes you as authority for one or two of his remarks," and mentioned the pa.s.sages. Fuseli instantly answered, "It must be Mathias; for I recollect that particular conversation;" and stated the time, the place, and the occasion which drew it forth, although many years had elapsed.

Fuseli's acquaintance with English poetry and literature was very extensive; few men recollected more of the text, or understood better the works of Chaucer, Spenser, Shakspeare, Milton, and Dryden. In Shakspeare and Milton he was deeply read, and he had gained some knowledge of the merits of the former in early life from the translations into German of some of the plays of Shakspeare, by his tutor Bodmer, who was well read in English poetry, and who subsequently gave a translated "Paradise Lost." Notwithstanding the predilection which Fuseli had for the ancients, particularly Homer, yet he considered the three first acts of "Hamlet," and the second book of "Paradise Lost," to be the highest flights of human genius. Indeed, he had a decided preference for poetry and works of imagination. "England," he once said, "has produced only three genuine poets, Shakspeare, Milton, and Dryden." A friend asked, "What do you say of Pope?"--"Ay, ay," he interrupted, "with Broome, Cawthorne, Yalden, Churchill, Dyer, Sprat, and a long list of contemptibles. These are favourites, I know, and they may be poets to you; but, by Heaven, they are none to me." Another gentleman who was present, maintained the genius of Pope, and thought the "Dunciad" his best production. Fuseli denied this, and added, "Pope never shewed poetic genius but once, and that, in the 'Rape of the Lock.'--A poet is an inventor; and what has Pope invented, except the Sylphs? In the Dunciad, he flings dirt in your face every minute. Such a performance may be as witty as you please, but can never be esteemed a first-rate poem."--He then called his "Eloisa to Abelard," "hot ice."

For Gray, however, he had a high admiration; and when his opinion was asked by one who imagined that he held him cheap, he said, "How! do you think I condemn myself so much as not to admire Gray? Although he has written but little, that little is done well."

When Addison was mentioned, he exclaimed, "Addison translated the fourth Georgic of Virgil, except the story of Aristaeus; you may thence know what his taste was. How can you ask me about a man who could translate that Georgic, and omit the most beautiful part?"

Of the more modern poets, Lord Byron was his favourite; and he always read his writings as soon as they were published, with great avidity.

When pressed to read the works of those writers in verse who are admired merely for the beauty of language and smoothness of versification, he exclaimed, "I cannot find time, for I do not yet know every word in Shakspeare and Milton."

He was well versed also in the works of foreign poets; but of these, Dante was his favourite, for his imagery made the deepest impression on his mind, and afforded many subjects for his daring pencil. "There was but one instance," he said, "in which Dante betrayed a failure in moral feeling. It is when Frate Alberigo, lying in misery in Antenora, implores him to remove the ice from his face. Dante promises to do so, on this condition--that the sinner shall first inform him who he is, and for what crime he is punished. But after Alberigo has fulfilled the conditions, the poet refuses to render him the service he had promised.

That is bad, you know; faith should be kept, even with a poor devil in Antenora." After a pause, he burst out with Dante's description of the Hypocrite's Punishment--

"O in eterno faticoso manto!"

"How well this is! I feel the weight, though I'm no hypocrite."

He did not accord with the feelings of Rousseau, in an epithet bestowed on Metastasio, _"Le bouillant Metastasio!"_--"I do not know where he discovered this fire; I am sure Metastasio never burnt my fingers, yet he is sometimes beautiful." Fuseli continued, "_I tuoi strali terror de'

mortali_, _&c._ (the Coro in the Olimpiade.) These are grand lines."

His knowledge of history and its attendant chronology, was accurate and extensive, and few men understood and remembered better the heathen mythology, and ancient and modern geography.

He was not ignorant of natural history; but that branch which was cultivated by him with the greatest ardour, was entomology, in which he was deeply informed, particularly in the cla.s.ses _lepidoptera_ and _coleoptera_, but in the former he took the greatest delight; and in acquiring a knowledge of the habits of insects, he was naturally led into the consideration of their food; hence he was not unlearned in botany. By skill and care, he sometimes reared in his house some of the rarer English insects, among them, the _Sphinx atropos_, _Sphinx uphorbiae_, and others. His great love for entomology induced him occasionally to introduce moths into his pictures, which he painted with great care and fidelity, and when much taken with the subject, he made them frequently incongruous. Thus, in a picture of Lycidas, from the pa.s.sage in Milton,

"Under the opening eye-lids of the morn, What time the grey-fly winds his sultry horn,"

which is in the possession of James Carrick Moore, Esq., where the shepherd and shepherdess, (exercising the licence of a painter, he has introduced the latter,) are only ten inches in length, happening to find in Mr. Johnson's garden at Fulham, a beautiful moth, he was so delighted with the insect, that in spite of all propriety and his better knowledge, he painted it the size of nature, hovering above the figures, with expanded wings. This singular appearance in the picture attracted the notice of the celebrated Dr. Jenner, who was skilled also in entomology; and being invited to dinner to meet Fuseli, he consequently enquired the subject. Mr. Moore informed him, that it was from Milton's Lycidas, and from the line,

"What time the grey-fly winds his sultry horn."

"No, no," replied the Doctor, "this is no greyfly, but a moth, and winds no horn; it is a mute." Fuseli, who heard this remark, knew well its accuracy, and therefore said nothing; and the respect which he had already entertained for Dr. Jenner, in consequence of his well-known discovery, which has been so useful to mankind, was heightened, by finding that he possessed also a knowledge of his favourite study; and each was amused during the evening by the other's singularities.

It must be acknowledged that Fuseli was fully sensible of his various acquirements, and never underrated his own powers; although apt to undervalue those of others, particularly of some of his brother artists, and also to speak of them slightingly, because they were unacquainted with literature and even deficient in orthography: after talking with them, he has said, "I feel humbled, as if I were one of them." Mrs.

Wollstonecraft was alive to this weakness in Fuseli's character, and on one occasion emphatically exclaimed, "I hate to see that reptile Vanity sliming over the n.o.ble qualities of your heart." This feeling with regard to several of the artists,--for he esteemed the acquirements of others,--was not given in reference to their powers as painters, for he had a high opinion of the English school of art in some of its branches.

Of Sir Thomas Lawrence he has said to me, "The portraits of Lawrence are as well if not better drawn, and his women in a finer taste, than the best of Vandyck's; and he is so far above the compet.i.tion of any painter in this way in Europe, that he should put over his study, to deter others, who practise this art, from entering,

'Lasciate ogni speranza voi ch' entrate.'"

Of Turner, he has observed, "he is the only landscape-painter of genius in Europe." Wilkie, he considered "to have most of the qualities of the best painters of the Dutch school, with much more of feeling and truth;"

and that "some of the fanciful pictures of Howard have poetic feeling with fine colouring."

Fuseli seldom or never concealed his sentiment with regard to men, even to their faces. Calling upon him one evening, I found Mr. Marchant and Mr. Nollekens in his room: although I was well-known to these gentlemen, he formally took me up to them, and said, "This, Mr. Knowles, is Mr.

Marchant, that, Mr. Nollekens, two of the cleverest artists in their way, I believe, in Europe, but in every thing else, two old daddies."

Every one knows, who is acquainted with art, the powers which Northcote displays when he paints animals of the brute creation. When his picture of "Balaam and the a.s.s" was exhibited at the "Macklin Gallery,"

Northcote asked Fuseli's opinion of its merits, who instantly said, "My friend, you are an Angel at an a.s.s, but an a.s.s at an Angel."

The conversational powers of Fuseli were extraordinarily great, and it was his constant aim to s.h.i.+ne in company. He was, however, very averse to protracted discussions, and for a short period would sometimes take the weaker side of the argument, in order to shew his powers; but if he then found his antagonist too strong for him, he often resorted to some witty retort, and dropped the conversation. In society he could not bear a rival; and was dissatisfied if he were prevented from taking a part in the conversation. Shortly after Mrs. G.o.dwin's marriage, she invited him to dinner to meet Horne Tooke, Curran, Grattan, and two or three other men of that stamp; he had no objection to their political opinions, but as they engrossed the whole conversation, and that chiefly on politics, he suddenly retired from their company, and, joining Mrs. G.o.dwin in the drawing-room, petulantly said to her, "I wonder you invited me to meet such wretched company."

His sentiments in society were delivered with an extraordinary rapidity; his language was nervous, and his words well chosen. He possessed much wit, sometimes of the playful but more frequently of the caustic kind; and his ideas were often uncommon, and generally amusing, which being poured forth with an enunciation and energy peculiar to himself, very much increased their effect. Fuseli was quite aware that he expressed himself sometimes too acrimoniously, and, after due consideration, he frequently regretted it. In a letter to his friend Roscoe, he thus expresses himself:--

"It was not necessary that I should be informed by our mutual friend, that your affection for me continues unabated, although, perhaps, you were a little startled by the _ferocity_ of my conversation during your last visit in town. Affection built on the base which I flatter myself ours is founded on, cannot be brushed away by the roughness or petulance of a few unguarded words."

Again, to Mr. Ottley, he writes:--

"MY DEAR OTTLEY,

"My wife tells me I behaved ill to you last night, and insists upon my making an apology for it: as I suspect she may be right, accept my thanks for your forbearance and good-humour, and grant me the benefit of Hamlet's excuse for his rashness to Laertes.

"Let us see you as soon as possible again. Respects to Mrs. Ottley.

"Ever yours, "Henry Fuseli."

"Tuesday, July 27th, 1813."

Some anecdotes, in addition to those already given, will ill.u.s.trate better the nature and force of his conversational talents, than any farther description. Discoursing one day with a gentleman at Mr.

Johnson's table upon the powers and merit of Phocion; a stranger, who had apparently listened with attention to the conversation, interrupted him by putting this question, "Pray, Sir, who was Mr. Phocion?" Fuseli immediately answered, "From your dialect, Sir, I presume you are from Yorks.h.i.+re; and if so, I wonder you do not recollect Mr. Phocion's name, as he was Member for your County in the Long Parliament;" and he then resumed the discourse. Bonnycastle and another mathematician were conversing upon the infinite extension of s.p.a.ce, a subject in which Fuseli could take no part, so as to shew his powers: he instantly cut it short, by asking, "Pray, Gentlemen, can either of you tell me how much broad cloth it will take to make Orion a pair of breeches?" Calling one morning upon Mr. Johnson, he found him engaged in bargaining with an author for the copyright of a book; after a time, the gentleman took leave; when he was gone, Mr. Johnson said, "That is Mr. Kett, and his work is to be called the 'Elements of Useful Knowledge.'" "In how many volumes?" said Fuseli. "In two octavos," was the answer. "No, no, Johnson," said he, "you cannot be serious; the Ocean is not to be emptied with a tea-spoon." Meeting with a gentleman in society, who piqued himself upon his knowledge of poetry, and boasted of being thoroughly versed in Shakspeare, he exclaimed, in a sonorous tone,

"O, for a Muse of fire, that would ascend The brightest Heaven of invention!"

"Pray, Sir, do you happen to recollect where these lines are to be found?" He took some time to consider, and then answered, "Somewhere in Pope."--"I find you are well read in the Poets," said Fuseli.-- Discoursing with a lady upon sculpture, who, however, was too well read in the cla.s.sics to be a subject of his mischievous pleasantry, he pretended to inform her of a fine bas-relief which had been received by the Royal Academy from Rome. "What is the subject?" sheasked.-- "Hector and Andromache," said he, "das.h.i.+ng out against a wall, the little Astyanax's brains." "Poh! why do you tell me such stuff?"

said she. "Ay! _you_ may laugh," replied Fuseli, "but it would go down with many a one. I have often said such things in company without detection; only try it yourself at the next lord's house you may visit, and see how many fine ladies and dandies will detect you."

His powers in conversation were usually greater than those displayed in his writings, for in the latter he was always hesitating, and generally aiming at terseness, to convey his meaning in the fewest possible words; hence he was sometimes ambiguous, and often obscure. I ventured once to hint this to him, and he answered, "I endeavour to put as much information into a page, as some authors scatter through a chapter; and you know, 'that words are the daughters of earth, and things, the sons of heaven;' and by this sentiment I am guided."

Little can now be gathered, after such a lapse of years, of his oratorical powers in the pulpit. But his friend Lavater says, "Nature designed him for a great orator:" we must then bow to the authority of a man of his eminence, who had frequently heard Fuseli preach. He, however, delivered the powerful language in which his lectures are written in a strong voice, with proper emphasis, and with precision.

Their effect, however, was in some degree lost to those who were not accustomed to his German p.r.o.nunciation.

His want of taste for mathematics and the pure physical sciences, and consequent ignorance of them, has been noticed, and this led him into some incongruities in his paintings. In a picture of Lycidas, which he was executing for Mr. Carrick Moore, he introduced the sun just rising above the horizon, with a full moon, not in opposition to the sun, but upon the same side. Mr. Moore attempted to convince Fuseli that the moon never appeared full but when she was diametrically opposite to the sun: but failing in this, he advised him to consult his friend Bonnycastle, the Astronomer, upon the point. Some time after, Mr. Moore saw the picture again, and found that the full moon was changed to a crescent.--"Ho! ho!" said he, "so, Bonnycastle has convinced you of your error?" "No such thing," answered Fuseli. "He did not say the full moon was wrong; but, as she appears inclined to her quadrature, that it was as well to paint her so; and I have done it."

CHAPTER XIV.

Fuseli's inherent shyness of disposition.--His opinions of various noted individuals, viz. Dr. Johnson, Sterne, Sir Joshua Reynolds, Gibbon, Horne Tooke, and Thomas Paine.--His cultivation of English notions and habits.--His attachment to civil and religious liberty.--His intimacy with theatrical matters.--His adventure at a Masquerade.--His powers as a Critic, both in Literature and Art, with various ill.u.s.trative examples.--His impressions of Religion.--One of his Letters on Literature.

The professional excellence, ready wit, great learning and acquirements in the cla.s.sics and general literature, which Fuseli possessed, made his society coveted; and he might have a.s.sociated with men of the highest rank and greatest talents of his time. But from childhood, he was of a very shy disposition, and not apt to make new acquaintances. When a boy, if a stranger happened to visit at his father's house, he would run away and hide himself; and with a similar feeling, through life, he contented himself with the a.s.sociation and attentions of old and tried friends, without attempting to make new acquaintances; and has often refused a pleasant dinner-party to meet some known friends, if he understood that one or two strangers were invited to be of the party.

This shyness gave to many the notion that he was a man of morose disposition, of severity of conduct, and of uncouth manners. But they who enjoyed his friends.h.i.+p, witnessed his domestic habits and happiness, and thus had opportunities of forming an accurate opinion of the good qualities of his heart and mind, know well the erroneousness of these opinions.

Fuseli would often be very amusing by giving anecdotes, and sometimes his opinion, of the merits of several of the literary characters whom he had met in company, or with whom he had a.s.sociated. A few of his remarks, in addition to those already given, recur to memory. Of Dr.

Johnson, whom he sometimes saw at Sir Joshua Reynolds' table, he said, "Johnson had to a physiognomist a good face, but he was singular in all his movements; he was not so uncouth in appearance and manners as has been represented by some; he sat at table in a large bushy wig and brown coat, and behaved decently enough. On one occasion, the conversation turned upon ghosts and witches, in the existence of which he believed, and his only argument was, "that great and good men in all times had believed in them." My fingers itched to be at him, but I knew, if I got the better of the argument, that his celebrity was so great, it would not be credited.--"You know," he continued, "that I hate superst.i.tion.

When I was in Switzerland, speaking with Lavater upon the appearance of the spirit after death, it was agreed between us, that if it were allowed by the Deity to visit earth, the first who died should appear to the other; my friend was the most scrupulous man in existence, with regard to his word; he is dead, and I have not seen him."--Of Sterne he said, that "he was a good man, knew what was right, and had excellent qualities, but was weak in practice. When I was invited to meet him at Johnson's, I expected to hear from the author of 'The Sentimental Journey,' (which I esteem the most original of books,) either wit, or pathos, or both; when I saw him, he was certainly nearly worn out, and I was miserably disappointed, as nothing then seemed to please him but talking obscenely."--The description which he gave of Sir Joshua Reynolds was, "that he had an insignificant face, but he possessed quickness of apprehension; he was no scholar, and a bad speaker. In his art, he took infinite pains at first to finish his work; but afterwards, when he had acquired a greater readiness of hand, he dashed on with his brush. "There is a degree of arrogance," said he, "in Sir Joshua's portraits, for all his boys are men, his girls women. Sir Joshua, una.s.sisted with a sitter, had no idea of a face; he copied nature, and yet there is a perfect degree of originality in his paintings; he had the affectation to deny genius." Of Gibbon he remarked, "that he had a good forehead, but a measured way of studying whatever he said." Of Horne Tooke,--"Tooke is undoubtedly a man of talents; but he is the greatest chatterer I ever sat down with; one cannot, in his company, put in a word edgewise; he, however, wishes to be thought a good German scholar, but in this he is very superficial." He sometimes met Thomas Paine in society, and has remarked to me, "that he was far from being energetic in company; to appreciate his powers, you must read his works, and form your opinion from them, and not from his conversation. Paine knew less of the common concerns of life than I do, who know little; for when he has had occasion to remove from lodgings, he hardly knew how to procure or make an agreement for others, and our friend Johnson[64]

latterly managed these concerns for him. When the popular cry was much against Paine, it was thought prudent by his friends, that he should remove from his apartments; and others were taken for him by Johnson, about four miles distant from those which he inhabited. They went there in a hackney-coach, for such a vehicle could contain them, with all the moveables which Paine possessed. On their arrival at the new abode, Paine discovered that half a bottle of brandy was left behind; now brandy being an important thing to Paine, he urged Johnson to drive back to fetch it. 'No, Mr. Paine,' said he, 'it would not be right to spend eight s.h.i.+llings in coach-hire, to regain one s.h.i.+lling's-worth of brandy.' Paine was an excellent mechanic; when Sharpe was about to engrave my picture of 'The Contest of Satan, Sin, and Death,' he employed a carpenter to construct a roller to raise or fall it at pleasure; in this, after several ineffectual attempts, he did not succeed to the expectations of Sharpe, who mentioned the circ.u.mstance in the hearing of Paine; he instantly offered his services, and set to work upon it, and soon accomplished all, and indeed more than the engraver had antic.i.p.ated."