The life and writings of Henry Fuseli Volume I Part 3

CHAPTER IV.

Fuseli settles in London.--Interview with Mr.

Coutts.--Reconciliation with Dr. Armstrong.--Professor Bonnycastle.--Society at Mr. Lock's.--Mr. James Carrick Moore and Admiral Sir Graham Moore.--Sir Joshua Reynolds.--Mr.

West.--Anecdote of Fuseli and West.--The popular picture of "The Nightmare."--Death of Fuseli's Father.--Visit to Mr. Roscoe at Liverpool.--Fuseli's singular engagement to revise Cowper's Iliad.--Three Letters from Mr. Cowper.--Anecdotes of Fuseli and Dr.

Geddes.

When Fuseli arrived in London, he took apartments in the house of an artist, Mr. Cartwright, whom he had known at Rome. This Gentleman then resided at No. 100, St. Martin's Lane, and practised chiefly as a portrait painter; he sometimes attempted historical subjects, in which, however, he did not excel. The kindness and simplicity of Mr.

Cartwright's disposition and manners were appreciated by Fuseli, who afforded him many useful hints, and sometimes a.s.sistance, in his professional pursuits. When we look at the historical pictures which he painted, it is easy to perceive what figures owe their production to Fuseli's mind; but it must be confessed that they appear to hang to the subject

"Like a giant's robe upon a dwarfish thief."

When settled in London, his first object was to renew an acquaintance with those whose friends.h.i.+p he had cultivated, and, as he considered, secured before he went to Italy. On calling, for this purpose, upon Mr.

Coutts, that gentleman frankly said, he was not pleased with him for the quarrel which he had with Dr. Armstrong while on board s.h.i.+p. Fuseli attempted to remove the impression which had been made on Mr. Coutts'

mind; but that gentleman replied, "I consider that the age and talents of the Doctor should have commanded a sufficient degree of respect from you, to have prevented any rudeness on your part; and I am very sorry to tell you, that he is now labouring under a severe, and what is considered an incurable malady." This account disarmed Fuseli, who had always entertained a high opinion of the talents of Armstrong, and considered his poems, particularly that on "The Art of preserving Health," productions of great merit. He therefore determined to suppress every hostile feeling, and to call upon the Doctor without delay.

On sending up his name, he was admitted almost immediately into Armstrong's bed-chamber. The poet, however, could not restrain his naturally sarcastic humour, and the following dialogue took place:--Armstrong: "So, you have come back?" Fuseli: "Yes; I have come home." Armstrong: "Come, you mean, to London! 'the needy villain's gen'ral home;' however," (putting out his hand) "I thank you for this visit: you find me in bad plight; but I am glad to see you again." After this salutation they conversed amicably; but the Doctor did not long survive the interview.[12]

About this time, the intimacy between Fuseli and Professor Bonnycastle commenced, which was kept up during their lives. The introduction took place at Mr. Johnson's house. Fuseli's voice being heard as he ascended the staircase, Mr. Johnson said to Bonnycastle, "I will now introduce you to a most ingenious foreigner, whom I think you will like; but, if you wish to enjoy his conversation, you will not attempt to stop the torrent of his words by contradicting him."

The genius and acquirements of Fuseli soon attracted the notice of men who were distinguished for learning and talents, and more especially those who possessed also a taste for the fine arts; among whom may be particularly noticed Lord Orford, and Mr. Lock of Norbury Park, with whom, and with his eldest son in particular, he kept up a constant friendly intercourse. Fuseli not only regarded Mr. William Lock junior, for the amiability of his character and his extensive knowledge, but also for his taste and critical judgment in the fine arts, as well as for the power which he displays in historical painting, whenever he condescends to employ his pencil thereon. In this particular, he considered that Mr. W. Lock ranked as high, or higher, than any historic painter in England. The society at the house of Mr. Lock was well chosen and very select; and here he occasionally met Sir Joshua Reynolds and Dr. Moore, author of Zeluco and other popular works. Dr. Moore being highly entertained with his conversation, took an early opportunity of introducing him to his family, with the whole of whom Fuseli kept up the most uninterrupted intercourse and friends.h.i.+p during life.

I may, I hope, here be allowed to digress by stating, that after the marriage of Mr. James Carrick Moore and that of his brother, Admiral Sir Graham Moore, Fuseli in a manner became domesticated in their respective families. In their houses he was always a welcome and highly-favoured guest: there he was unrestrained; and his wit and gibes were allowed to sally forth sometimes upon contemporary artists, and often upon popular men, or pa.s.sing events. The freedom which he enjoyed in their society, encouraged him to give utterance to the wild and unpremeditated flights of his fancy. It was with these favoured friends that he displayed the depth of his learning, his fine taste in poetry, and critical judgment in painting. By their indulgence, his intemperate expressions usually pa.s.sed unnoticed, and the ebullitions of a naturally impatient temper were soothed.

Grat.i.tude makes me acknowledge the uniform kindness which I have also experienced from Mr. Carrick Moore and his family; and that I am indebted to them for much valuable a.s.sistance in compiling the particulars of Fuseli's life, and for some of those characteristic anecdotes and reminiscences which will be found in the sequel. Fuseli has more than once said to me, after we had partaken of their hospitality, "Moore's is the most pleasant house to visit that I know,"

and coupled the observation with such encomiums on the sound sense, knowledge, and accomplishments of that family, (known certainly to those who have the pleasure of their acquaintance,) which, if repeated in this place, might be considered by some as flattery on my part.

When Fuseli returned to England, Sir Joshua Reynolds was in the zenith of popularity as a portrait painter; but his powers in historical painting were not then sufficiently appreciated: hence, some of his best works remained on his hands until his death; for example, the "Dido,"

the series of designs for the painted window at Oxford, the "Cymon and Iphigenia," and several others. West, as an historical painter, was held, at this time, in equal, if not in higher esteem by the public, than Sir Joshua. Fuseli was astonished at this, and accordingly was not backward in expressing his opinion thereon, both in writing and in conversation, for he was at no time of his life an admirer of West. He however always gave to him the merit of much skill in composing;--of a thorough knowledge of the art which he professed, and a perfect mastery over the materials which he employed; and he spoke in terms of qualified praise of his pictures of "Regulus,"--"Death of Wolfe," and "Paul shaking the viper from his hand."--But he considered that West was wanting in those qualities of the art which give value to historical design,--invention, and boldness of drawing; and being determined to show what he could do in these particulars, in 1780, Fuseli exhibited at the Royal Academy the following pictures:

"Ezzlin musing over Meduna, slain by him, for disloyalty, during his absence in the Holy Land."--"Satan starting from the touch of Ithuriel's lance."--"Jason appearing before Pelias, to whom the sight of a man with a single sandal had been predicted fatal."

These paintings raised him, in the opinion of the best judges, to the highest rank in the art; and the President, Sir Joshua Reynolds, considered that they possessed so much merit, that he had them placed in prominent situations in the Exhibition.

The following anecdote has been told of Fuseli, with regard to West, which is certainly characteristic of the man, and if true, shows his feelings towards that painter in a very pointed manner. At the election of West to the chair of the Royal Academy, in the year 1803, after a secession of twelve months, the votes for his return to the office of President were unanimous, except one, which was in favour of Mrs. Lloyd, then an academician. Fuseli was taxed by some of the members with having given this vote, and answered, "Well, suppose I did, she is eligible to the office--and is not one old woman as good as another?"

The next year, 1781, he painted his most popular picture, "The Nightmare," which was considered to be unequalled for originality of conception. The drawing first made, which is now in my possession, had the words, "St. Martin's Lane, March 1781," written by him in the margin; it is a masterly performance, chiefly in black chalk, and is composed without the head of the mare. This subsequent thought is added in the picture, which, when placed in the annual exhibition of 1782, excited, as it naturally would, an uncommon degree of interest. This picture was sold by him for twenty guineas; it was subsequently engraved by Burke, and published by J. R. Smith; and so popular was the subject, that the publisher acknowledged to have gained upwards of five hundred pounds by the sale of the prints, although vended at a small price.

The conception of the subject of "The Nightmare" has been thus beautifully described by one of the most popular poets of his time,--Dr.

Darwin.

"So on his NIGHTMARE, through the evening fog, Flits the squab fiend o'er fen, and lake, and bog; Seeks some love-wilder'd maid with sleep oppress'd Alights, and grinning sits upon her breast-- Such as of late, amid the murky sky, Was marked by FUSELI'S poetic eye; Whose daring tints, with Shakspeare's happiest grace, Gave to the airy phantom form and place-- Back o'er her pillow sinks her blus.h.i.+ng head, Her snow-white limbs hang helpless from the bed; While with quick sighs and suffocative breath, Her interrupted heart-pulse swims in death."

Fuseli painted at different periods several pictures of "the Nightmare:"

but in each of them there are variations from, or additions to, the first drawing of that subject. His fame was about this time further raised by two pictures, "The Weird Sisters," and "Lady Macbeth walking in her sleep," of which excellent prints in mezzotinto were made; these also became popular, and tended to advance the merit of the artist in the opinion of connoisseurs.

In 1781, he received intelligence of the death of his father,[13] who was esteemed both as a writer and a painter, and had not only acquired a name for his talents, but for the a.s.sistance which he was at all times ready to give in furtherance of literature and the fine arts. At his decease, he had arrived at the advanced age of seventy-five years.

Fuseli this year painted a picture, representing an interview, which took place in 1778, between him and his aged tutor, Bodmer. In this, Fuseli is sitting in an att.i.tude of great attention, and Bodmer apparently speaking: the subject of the conversation may be supposed to relate to philosophy or literature, from the bust of a sage which is placed upon the mantel of the room. This picture he sent to Zurich, as a present to Solomon Escher, a friend of his, and a near relation of Bodmer. About this period, in paying a visit to Lord Orford, with whom he kept up the most familiar intercourse, he had the misfortune to fall from a horse, and, among other injuries which he received dislocated his shoulder.

In 1785, he again visited Liverpool, having received an invitation from Mr. Roscoe,[14] whose acquaintance he had made shortly after his return to this country from Italy. This visit cemented that friends.h.i.+p which remained unabated during his life. Of the virtues and talents of this friend, Fuseli always spoke in the highest terms of praise. Mr. Roscoe, who saw Fuseli's works with the eye of a poet, as well as with that of a connoisseur, patronized him, not only by giving him commissions at different times to paint ten pictures for himself, but by recommending his works to his numerous friends.

In January 1786, Cowper issued a prospectus for publis.h.i.+ng a translation of Homer into English blank verse. To give the public some notion of his powers, and ability to execute the task, he sent to Mr. Johnson, his publisher, a ma.n.u.script translation of 107 lines of the 24th book of the Iliad, being part of the interview of Priam and Achilles, and also proposals for publis.h.i.+ng the work by subscription. This specimen was shown to Fuseli, who, without hesitation, made several alterations in it, which appeared to Mr. Johnson to be so judicious, that he sent it back to Cowper for his opinion before the ma.n.u.script was printed, without, however, mentioning the name of the critic. Cowper immediately saw that these alterations were improvements, and had been made by a scholar and a man of taste; and expressed his readiness, not only to adopt them, but to attend to any suggestions, if the same person would overlook his translation. Fuseli readily agreed to do this, without the notion of any reward; and he accordingly made observations on the translation of the Iliad, and alterations therein, before the several books pa.s.sed through the press.

Hayley, in his Life of Cowper, and the latter in the preface to his translation of Homer, and also in his published letters, have given many testimonials of their opinion of Fuseli, not only as a Greek scholar, but for his taste and judgment in English poetry. The former (Hayley) remarks, "It is a singular spectacle for those who love to contemplate the progress of social arts, to observe a foreigner, who has raised himself to high rank in the arduous profession of a painter, correcting, and thanked for correcting, the chief poet of England, in his English version of Homer."

The following letters, hitherto unpublished, which I have obtained through the kindness of Mr. Hunter, one of the executors to the will of the late Mr. Johnson, are additional evidence how highly Cowper estimated the a.s.sistance which he received from Fuseli.

"Olney, March 5th, 1786.

"SIR,

"I ought sooner to have acknowledged the receipt of Mr. Fuseli's strictures; and, had I been at leisure to consult my own gratification, should have done so. The work will be greatly indebted to him; and I cannot help adding, though I believe I said it before, that I account myself singularly happy in the advantages that I shall derive to my translation from his fine taste and accurate acquaintance with the original.

"I much wish for an answer to my question concerning my subscribers' payments at Bristol. Have you a correspondent there who can negotiate it? Again I remind you, though perhaps unnecessarily, of the second volume for Richard Howard, Esq.

"I have this day sent to Lady Hesketh the remaining half of book 2, and the whole of books 3, 4, and 5. From her they will pa.s.s to General Cowper, and from him, I suppose, to Mr. Fuseli, in a short time. In the interview which he had with that gentleman, he was highly pleased with him.

"I am, Sir,

"Your most humble servant,

"William Cowper."

"Mr. Joseph Johnson."

"Olney, March 8th, 1786.

"SIR,

"You are very happy in being so intimately connected with Mr.

Fuseli, a gentleman of such exquisite taste and learning; and I also account myself very happy, that by your means my work has found its way into the hands of a person in all respects so perfectly well qualified to revise it. I am only sorry, that my distance from town permits me not (at least for the present) the pleasure of an introduction to one to whom I am to be so much indebted. I very sincerely thank you for interesting yourself so much in my comfort, as to write to me princ.i.p.ally with a view to inform me of his approbation. You may take my word for it, that I find your intelligence on that head a great and effectual encouragement. I have had some anxious thoughts upon the matter, as you may suppose, and they are guests I am always glad to dismiss when I can; and immediately after reading your letter, accordingly dismissed them.

"Mr. Fuseli will a.s.suredly find room for animadversion. There are some objectionable lines, and others that are improvable, of which I am myself aware. When I receive the ma.n.u.script again, I will give it a close examination, both that I may avail myself of Mr.

Fuseli's remarks to the utmost, and give to the whole of it the best finis.h.i.+ng that I can.[15]

"I am, Sir,

"Your most humble servant,

"William Cowper."

"Mr. Joseph Johnson."