"If not in subjects altogether, yet in manner, one of the first examples of this kind, if not the very first, appeared about the latter end of the sixteenth century, in a Neapolitan, who is commonly known by the name of Giuseppe d'Arpino."
After having thus openly condemned some of the subjects painted by Sir Joshua Reynolds and Fuseli, the author shortly after launches out in unqualified praise of the works of West, particularly his "Death of Wolfe," of which he gives an elaborate description, and concludes by considering it as "one of the most genuine models of historic painting in the world." The series of pictures painted by Barry, which adorns the great room of the Society of Arts in the Adelphi, are also eulogized by him.
It was generally known to the academicians, that Mr. Bromley had assisted Mr. West in arranging and getting up the discourses which the latter delivered to the Royal Academy; and it was conjectured that Mr. West had given his friend some of the observations on modern art, even those in praise of his own works. These circumstances, and Mr. Bromley's strictures upon a living artist (Fuseli), disgusted many of the members of the Royal Academy, and they requested Fuseli not only to animadvert upon them, but to prove (what he broadly asserted) that Mr. Bromley did not understand the subject, and that he was equally ignorant of the classical authorities which he quoted in his Dissertation upon Ancient Art. Fuseli immediately undertook the task, and published in a journal, a letter addressed to Mr. Bromley, pointing out a variety of errors in his work. I regret, after having employed much industry to find this, that I have not succeeded. Mr. Bromley answered it by publishing two letters in the Morning Herald of the 12th and 18th of March 1794, in which he deeply complains of the injury he sustained, as an author, by the observations of Fuseli; admits that several of these are correct which regard classical quotations, but shields himself by stating that his manuscript was right, and that the errors are to be attributed to the printer.
Fuseli's letter, however, made so deep an impression, that the Academy were about to reject the book altogether, as unworthy a place in their library; but after some debate, they came to the resolution to allow the first volume to remain there, but to withdraw the subscription for the second. And on the 20th of February, 1794, at a general meeting of Academicians, they came to this resolution, "That Mr. Fuseli has conducted himself properly in his remarks on Mr. Bromley's book." In consequence of the opposition of Fuseli, the second volume was never published.
In 1794, Fuseli painted for Mr. Seward "The Conspiracy of Catiline." This gentleman was so much pleased with the picture, that he wrote the following verses, which were published in the "Whitehall Evening Post," in the December that year, and copied into the "European Magazine, for January 1795."
In the years 1793 and 1794, Fuseli painted four pictures for "Woodmason's Illustrations of Shakspeare,"—two from subjects in the Midsummer Night's Dream, and the other two from Macbeth. Three of these are known by engravings, namely, Oberon squeezing the juice of the flowers into Titania's eyes while she sleeps,—Titania awake, attended by fairies, and in raptures with Bottom wearing the ass's head,—and Macbeth meeting the Witches on the heath.—The fourth, Macbeth with the Witches at the cauldron, was chosen by Sharpe, and some progress made by him in the engraving of it, when the scheme was abandoned. Fuseli was much gratified by my having subsequently purchased this picture, and remarked, "You have another of my best poetical conceptions. When Macbeth meets with the witches on the heath, it is terrible, because he did not expect the supernatural visitation; but when he goes to the cave to ascertain his fate, it is no longer a subject of terror: hence I have endeavoured to supply what is deficient in the poetry. To say nothing of the general arrangement of my picture, which in composition is altogether triangular, (and the triangle is a mystical figure,) I have endeavoured to shew a colossal head rising out of the abyss, and that head Macbeth's likeness. What, I would ask, would be a greater object of terror to you, if, some night on going home, you were to find yourself sitting at your own table, either writing, reading, or otherwise employed? would not this make a powerful impression on your mind?" Fuseli always complained of not being able to effect all he wished in these pictures, in consequence of being limited to shape and size, as it was stipulated by Woodmason, that those painted for his gallery should be 5 feet 6 inches high, by 4 feet 6 inches broad.
It was not until his own means were exhausted that Fuseli could bring himself to solicit pecuniary assistance from others for the accomplishment of his plan of the "Milton Gallery." As soon, however, as it was understood that he must either give it up, or be supported in it, six of his intimate friends (in 1797) immediately came forward, and each agreed to advance him fifty pounds per annum, until the task was completed. It gives me pleasure to place the names of these gentlemen on record. Messrs. Coutts, Lock, Roscoe, G. Steevens, Seward, and Johnson. It was stipulated that they were to be paid out of the proceeds of the exhibition of the Milton Gallery, or take pictures or drawings to the value of their contributions. Mr. Coutts, in addition to his annuity, with that characteristic spirit of true liberality which ever marked his conduct, and with that modesty which generally accompanies such feelings, made a donation of a hundred pounds, under the injunction that his name should not appear in the transaction; and Mr. Roscoe gave proofs of the sincere friendship which he entertained for the artist, by not only buying pictures to a considerable amount, but also by inducing his friends and connexions at Liverpool to make purchases. The interest which Mr. Roscoe took in Fuseli's labours is shown in the following letter:—
"my dear friend,
"I am much mortified that I shall not have the pleasure of seeing you in Liverpool; but, at the same time, if your bringing your works before the public next Spring depends on your close attention to them at present, it will, I confess, in a great degree reconcile me to my disappointment. I look upon this as the period which will shew you to the public in your true light, and obtain for you that universal suffrage which will secure you a great and lasting reputation. Inclosed is a bill from Clarke's for a second hundred pounds, of which you will be pleased to acknowledge the receipt by a line, when it comes to hand. I consider you as connected in London with friends of more liberality than are generally met with, and I esteem you as a cautious and provident man, for an artist; notwithstanding which, I may be excused in suggesting to you, that this exhibition should be wholly on your own account, and should not be connected with any subsequent plan that may be proposed for publication of prints from the pictures, &c. With respect to the mode of exhibiting the pictures, I still think the least expensive will be to stucco the room with pannels, with broad mouldings, in imitation of frames, which may be painted in a bold style, to suit the pictures. If this could be done in imitation of bronze, it would have a grave and better effect for such subjects, than if you even went to the expense of gilding, which would be enormous. I mention this, because, if you think the plan likely to answer, the work should be done some time before, that it may be sufficiently dry. Perhaps all this may be unnecessary, and you have already decided on a better plan; but I know you will attribute it to its proper motive.
"My wife has been unwell for some time past, owing, I believe, to nursing too long. Apropos—I have just translated a poem on this subject, in two capitoli from the Italian of Luigi Tansillo, in which he endeavours to prevail on the ladies to undertake that important duty to their children. Tansillo was contemporary with Ariosto, &c., and for purity of style is excelled by few of his countrymen. I have sent my version to Shepherd, to revise, &c.; but am yet undecided whether I should publish it.[46] —Adieu, my dear friend, and believe me very truly and affectionately yours,
"W. Roscoe."
"Liverpool, 12th Dec. 1797."
The assistance afforded by these friends enabled Fuseli to carry on steadily the grand work on which he was engaged, and to this, most probably, the public owe many of the pictures of which the Milton Gallery was composed. After acknowledging his gratitude to one of them (Mr. Roscoe), he thus expresses himself, "I shall now endeavour to carry through a work which I consider a monument of myself; whatever I may be, magnis tamen excido ausis, if I do not succeed to give it excellence."
In 1795, Fuseli assisted his friend Mr. Seward by contributing several articles to an amusing and instructive work known by the appellation of "Seward's Anecdotes."
In 1796, he painted a picture for Macklin's Gallery, "The Vision of the Candlesticks," from the Revelations of St. John. For this he chose what may be considered the most sublime moment, the sudden appearance of the apparition and the trance of the saint; but he always regretted that he was limited to size, and tied too much to biblical precision by Mr. Macklin, instead of being allowed to exercise the full range of his fancy on a canvass of larger dimensions.
In the autumn of this year (1796), Mr. and Mrs. Fuseli, with Messrs. Opie and Bonnycastle, passed a few days at Windsor; the object of the two artists was not only to have some relaxation and to see the pictures, but to examine critically the cartoons of Raphael, which were at this time in the Castle. An anecdote or two will show the disposition of the three men. In their journey down by the stage-coach, they were much annoyed by an outside passenger placing his legs over one of the windows. Opie at first gently remonstrated with him; this, however, not producing the desired effect, he pinched his legs, but yet the nuisance continued; at length the coach stopped at an inn. Opie, being enraged, exerted his Herculean strength, and pulled the person to the ground; but this did not produce any rencontre.—When at Windsor, the two painters endeavoured to palm the Scriptural subjects of West upon Bonnycastle for the cartoons of Raphael; but although he was not a competent judge of works of art, yet he was too well read not to detect their intentions. Bonnycastle, however, wished to show his critical knowledge, and ventured upon the observation usually made on the cartoon of "The Miraculous Draught of Fishes," that the boat was not sufficiently large for the men, much less for the lading. Fuseli instantly answered, "By G—d, Bonnycastle, that is a part of the miracle." Being at Windsor, they went to Eton College: here the youths assembled about them, asking the usual questions; "Do you wish to see the Library, Gentlemen," and such like. Fuseli amused himself by answering them in Latin; but Opie, in his usual gruff manner, said to the most prominent among them, "What do you want? I cannot make out to what class of beings you belong, being too little for a man, and too large for a monkey." This was resented as an insult by the mass; and it was only by the great physical powers of Bonnycastle and Opie, that they disengaged themselves and their companion from the crowd of boys who surrounded them. Fuseli was highly provoked, and was apprehensive also of personal violence; and when he got without the barrier, almost breathless with rage, he sat on a large stone by the side of the road and exclaimed, "I now wish I was the Grand Sultan, for I would order my vizier to cut off the heads of these urchins from the rising of the sun until the going down thereof."
By indefatigable industry, Fuseli had now made considerable progress in the pictures which were to compose the "Milton Gallery," and those friends, as well as many of the artists who had been allowed to see them as he proceeded, felt confident of the ultimate success of the exhibition. With such feelings his intimate friend Sir Thomas Lawrence offered to contribute a picture gratuitously, and Mr. Opie tendered his services, not only to paint some pictures, but to manage the concern; under the condition, however, that he was to be a sharer in the profits. These offers Fuseli politely but prudently declined, being determined not to have any assistance whatever in a work, which he wished should be a monument of himself, and feeling, perhaps, that contrarieties of style would not be beneficial to the exhibition as a whole; for his aim was more to give the sublime, quiescent, and playful imagery of the poet in his own powerful manner, than to engage attention by colour or a brilliant execution of the pictures. These observations are not however intended to depreciate the merits of the splendid picture painted from Milton by Sir Thomas Lawrence, of "Satan calling up his Legions," which for a long period was a prominent feature in the collection of his Grace the late Duke of Norfolk, at his house in St. James's Square, and which, by the style of drawing as well as its tone of colour, abundantly prove, that this artist would have been equally distinguished for his powers in treating epic subjects as in portraits, if he had employed his pencil exclusively thereon.
As soon as the intended exhibition was announced by the daily prints, but before the doors of the "Milton Gallery" were opened, the public mind was attempted to be biassed very unfairly by paragraphs in the newspapers calumniating the subjects as well as the execution of the pictures. These critics considered that he had attempted to represent on canvass scenes adapted only to poetic imagery, and thus transgressed the limits of the imitative art, and that his figures were distorted, and his colouring wanting both in force and brilliancy. As it was evident that these observations could have proceeded only from some persons who had seen the pictures through the kindness of the painter, Fuseli considered his confidence betrayed and interests injured by those who came under the mask of friendship; and he always held the opinion that the paragraphs in question were written by or at the instance of one or more of the then members of the Royal Academy.
As the mass of the public form their judgment of works of art more by what they are told by the diurnal prints, than by what they feel or know, there is no doubt that these unwarrantable criticisms had their effect in checking the desire of many persons to visit the exhibition. Fuseli, however, was sanguine as to the ultimate success of the "Milton Gallery," for he had yet to learn that he who had delineated the sublime and playful imagery of the poet, was like the poet himself to accomplish his design under every discountenance, and in the end to gain little or nothing by his performance. For, with feelings strongly in opposition to the opinion of Dr. Johnson, that "we read Milton for instruction, retire harassed and overburthened, and look elsewhere for recreation; we desert our master and seek for companions;" Fuseli wrote in large letters in the margin of a copy of the "Lives of the Poets," now in my possession, in allusion to the passage in question, "I do not." Some of the judicious friends of Fuseli formed a more correct notion of the feelings of the public than himself, and were not therefore so sanguine as to the success of his exhibition; this is manifest by the following letter from Mr. Roscoe.
"Allerton, 24th May, 1799.
"my dear friend,
"My friend and neighbour Mr. Shepherd, who is already known to you, being about to take his departure with Mrs. Shepherd and her sister on a journey to London, I avail myself of the opportunity it affords of informing you, without being questioned on the subject, that I am yet in existence, and, what I know you will be glad to hear, in better health, and consequently better spirits, than when I last wrote to you. From the experience I have hitherto had of my new residence, it promises to be productive of every advantage which I expected to find from it:—good air, opportunity or rather necessity of exercise, and a degree of retirement which is indispensably necessary to my peace of mind. The latter you will perhaps believe when I tell you that I am a mile and a half from any neighbour; but, at that distance, I have on every side of me some of my most intimate and valuable friends. Such being the advantage I enjoy here, you will not wonder that I am exerting myself to secure the means of remaining here, without the necessity of further interference in the tumult of the town, which I hope in a short time I shall be able to do. I consider it as one great secret in the art of living, especially at a time when all the necessaries of life are so high, to obtain subsistence immediately from the earth, and, accordingly, I am surrounded with cows, hogs, turkies, geese, cocks, hens, and pigeons, which, according to the good old maxim, (take, Peter, kill and eat,) I plunder and slaughter without mercy; and shall be very angry with you if you tell me (as is not unlikely) that I am keeping up my paltry existence at the expense of the lives of a number of beings, each of which is ten times happier than myself.
"I was struck with the sight of an advertisement in the Courier, which announced to me, in common with all the world, that the Exhibition of the Pictures of Milton would be opened in a few days. I rejoice to find your exertions so nearly brought to a conclusion, and I hope I may say, so nearly crowned with success. I have sometimes regretted that your intention of painting a series of pictures from Shakspeare was frustrated; but, after what I have seen of Milton, I am convinced that it was he alone could have afforded sufficient scope for your powers. I will not pretend to prophesy, nor, to say the truth, have I any very high opinion of the taste of the present day; but if the public are insensible to the feast which will now be spread before them, I shall be wholly hopeless of their amendment. That they will see with indifference is impossible; and this circumstance alone is favourable, however they may be induced to decide.
"Believe me, my dear friend, I do not turn a deaf ear to the claims you have on my friendship and affection; and if I should be able to produce a few lines worthy of the subject, there is nothing I should do with so much pleasure as to express the opinion I have of your talents.
"I am affectionately your's,
"W. Roscoe."
In 1798, Mr. Johnson was brought to trial for selling the Reverend Gilbert Wakefield's political works, and being found guilty was sentenced by the Court to pay a fine to the King of £50, and to be imprisoned in the King's Bench for nine months. Johnson employed Mr. Erskine (afterwards Lord Erskine) as his counsel; and Fuseli, in common with most of Mr. Johnson's friends, considered that the prosecution was an arbitrary act on the part of the Government, because every bookseller sold the works in question, and all with impunity, except Johnson; and that Erskine, in his defence, lost sight of the interest of his client, in the wish to shew his own political opinions, and to make a display of his oratorical powers.
Mr. Johnson, on his removal to the King's Bench, occupied the Marshal's house, and gave there his usual weekly dinners to literary and scientific men. Fuseli was warned by his friends of the existence of the Alien act, and advised not to visit a man in the King's Bench Prison who had been so marked by the Government. But his friendship for Johnson was greater than any prudential motives of this nature; and he therefore visited him as frequently as he had previously done in his own house.
The following anecdote respecting Lord Erskine, who subsequently was intimate with Fuseli, was told me by Mr. Bonnycastle. He and Johnson were, just previously to the trial, walking through Lincoln's Inn on their way to dine with Fuseli, and met Erskine there accidentally, who had several dogs with him, animals of which he was particularly fond. As soon as he saw them, he cried out, "Johnson, I have something particular to say to you," and then occupied him in close conversation, apart from Bonnycastle, for nearly a quarter of an hour.
At length Mr. Johnson took his leave; and when he joined Bonnycastle, said, "You cannot even guess the topic of our conversation." "Doubtless," said the latter, "your forthcoming trial." "Not a bit," said Johnson; "he never even alluded to it, and the time was wholly occupied with his opinions about Brothers the Prophet, and in asking questions respecting a book 'on the Revelations,' lately offered me for publication."
When Johnson was liberated, he, Fuseli, and Mr. Sturch, went to Liverpool together to enjoy, for three or four weeks, that relaxation which was considered necessary for Johnson's health.
On the 20th of May, 1799, the rooms in Pall Mall, formerly occupied by the Royal Academy, were opened for the exhibition of the "Milton Gallery:" these Fuseli rented at 210l. per annum. This exhibition consisted of forty pictures of different sizes; but, to give an idea of the extent of the undertaking, the following are the dimensions of some of the principal ones. "Satan starting from the touch of Ithuriel's spear," and "Satan calling up his Legions," each 13ft. by 12.—"Satan encountering Death, Sin interposing;" "Adam and Eve first discovered by Satan;" "Satan flying up from Sin and Death in his enterprise;" and "The Vision of Noah:" each 13ft. by 10. "Death and Sin bridging the waste of Chaos," and "The Vision of the Lazar House," each 11ft. by 10. "The Creation of Eve;" "Christ on the Pinnacle of the Temple;" "The Fall of Satan;" "Adam resolved to share the Fate of Eve;" and "Eve at the Tree of Knowledge:" each 10ft. by 7.
To those who had a feeling for the highest class of art, epic subjects, treated with dramatic power, this exhibition afforded a high treat. But, that some judgment may be formed of its extent and variety, the following descriptive catalogue of the pictures drawn up by Fuseli himself, is here given, to which is added, as far as I can ascertain them, the names of the persons in whose possession these pictures now are.
Satan risen from the Flood, Beelzebub rising.
In the possession of Sir Thomas Lawrence.
Satan calling up his Legions.
In the possession of His Grace the Duke of Wellington.
Satan haranguing his Host.
Figures from a simile in allusion to the contracted form of the Spirits assembled in the new-raised Hall of Pandæmonium, illustrated by a simile from
Satan encount'ring Death, Sin interposing.
In the possession of Sir Thomas Lawrence.
The Birth of Sin.
In the possession of Samuel Cartwright, Esq.
Sin pursued by Death.
In the possession of John Knowles, Esq.
Lapland Orgies, the Hell-hounds round Sin compared to those that
In the possession of John Knowles, Esq.
Satan's ascent from Hell.
In the possession of Sir Thomas Lawrence.
A Gryphon pursuing an Arimaspian.
A comparison of Satan's
exertions to force his way through the realm of Chaos.
In the possession of John Knowles, Esq.
Satan bursts from Chaos.
In the possession of the Countess of Guilford.
Ulysses between Scylla and Charybdis.
An exemplification of
Satan straitened in his passage to Light.
In the possession of the Countess of Guilford.
Adam and Eve first discovered by Satan.
Satan surprised at the ear of Eve,
starting from the touch of
Ithuriel's Spear.
In the possession of John Angerstein, Esq.
Satan discovering his fate in the Scale aloft,
flying from
Gabriel and the Angelic Squadron.
The Dream of Eve, fancying to have tasted the fruit from the Tree of interdicted Knowledge, with
In the possession of Wm. Young Ottley, Esq.
The creation of Eve, as related by Adam.
Eve, new created, led to Adam.
In the possession of John Angerstein, Esq.
Eve at the forbidden Tree.
Adam resolved to share the fate of Eve; the Guardian Angels leaving the Garden.
Eve, after the Sentence and departure of the Judge,
despairing,
supported by Adam.