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Rome, and sent from thence 'The Peri and her Child' for exhibition; about this time also he visited Constantinople. He died at Florence, March 10, 1875. His works, though technically incomplete and sometimes meretricious, showed nevertheless considerable ability.
FUSELI, Henry, R.A., history painter. Was born at Zurich. February 7, 1741. The second son of John Caspar Füessli, who was himself a painter of landscapes and portraits, a man of learning and a writer on art. Henry Fuseli was educated for the Church, took his M.A. degree and entered into holy orders in 1761, and it is recorded preached his first sermon at Zurich from St. Paul's text—'What will this babbler say?' His strong early predilection for art had probably only been stilled, yet he might have continued in the Church had he not united with his friend Lavater in exposing some peculation by the chief magistrate of the canton, who proved eventually too strong for him, and he was, with his friend, compelled to quit Zurich. Then he travelled, visiting several German cities, and at Berlin contributed eight designs to a work which was published there. He had, while pursuing his theological studies, among other acquirements, learnt English and read Shakespeare, whose 'Macbeth,' with 'Lady Mary Wortley Montagu's Letters,' he translated into German. He was induced by the British Minister to the Prussian Court to come to London, where he arrived at the close of the year 1765, his object being to promote some scheme of literary union between England and Germany. He first found employment in translating, occasionally making some designs for book illustration, and then accepted the office of tutor to travel with a nobleman's son, for which he was little suited, and soon resigned.
On his return to England in 1767, intending to devote himself to literature, he gained an introduction to Sir Joshua Reynolds; whose warm appreciation of his drawings induced him to devote himself at once to art. He was now nearly 26 years of age. He had not attained even the rudiments of his adopted profession, which require great application; but he looked to Italy as the source of all art inspiration, and set out for that country, arriving at Rome in the spring of 1770. There he studied earnestly from the antique, and from the works of Michael Angelo, whose great manner he appears to have followed, but not by devoting himself to that laborious attendance at the schools which is essential to excellence. He was absent nearly nine years from England. From Rome he sent to the Spring Gardens Exhibition, in 1775, 'Hubert and Prince Arthur;' in 1778, 'Caius Gracchus;' and in 1783, 'The Pangs of Mona.' Meanwhile, he had sent to the Royal Academy, in 1774, his 'Death of Cardinal Beaufort;' and in 1777, his 'Scene from Lady Macbeth.' He set off on his return in 1778, visited Zurich on his way, where he stayed some time with his father, and reached London early in 1779, having made both friends and a reputation in Italy.
In 1782 he exhibited his 'Nightmare,' which was multiplied by engravings, and soon became very popular, the publisher having, it is said, realised 600l. from the plate. Zealously following art, he did not abandon literature. He edited the English translation of Lavater's work on Physiognomy, and contributed an occasional paper to the 'Analytical Review.' In 1786 Boydell's scheme of the Shakespeare Gallery was set on foot. Fuseli's co-operation was thought important, and he entered warmly into the undertaking, painting no less than eight large and one small subject for the gallery. He was elected an associate of the Royal Academy in 1788, and a full member in 1790; and the same year married a discreet young woman, who had sat to him as a model. About this time he projected his own Milton Gallery. In this he persevered under some difficulties during nine years; and though assisted both by the purses and the influence of his friends, his scheme proved, when opened to the public in 1799, in a pecuniary sense at least, a sad failure; yet it was a great undertaking, comprising 47 pictures by his own hand, most of them of large dimensions.
His knowledge and literary attainments made him well fitted for the office of lecturer on painting; and to this post he was elected in 1799. He compiled twelve lectures: viz. on Ancient Art, on Modern Art, Invention (two), Composition, Chiaroscuro, Design, Colour (two), Proportions of the Human Frame, History Painting, and the Modern State of Art. These he delivered with great effect, and they have since been published. He vacated the office in 1804, when he was elected keeper of the Royal Academy, but was subsequently re-elected to the professorship by the suspension of the bye-laws of the Academy, which made the two offices incompatible; and he then produced three additional lectures, completing the above series. In 1802 he visited Paris, and collected some materials for a work on the art-treasures in the Louvre, which was not gone on with, probably interrupted by the outbreak of war; and in 1805 he prepared for publication an enlarged edition of Pilkington's 'Dictionary of Painters.' He had also commenced a 'History of Modern Art,' and had completed between 500 and 600 pages in manuscript, bringing his subject down to Michael Angelo; and he left many frag-
