Painting in the Royal Academy, which had almost exhausted him, he was so revived by the sight of Cooper, who stood near him, that he said with a smile; "What! is it you, Cooper? well, how goes on entomology?"
Fuseli has seldom been spoken of as a Painter beyond a chiaro-'scurist, nor was it until I saw his picture of the Embrace of Sin and Death, that I had any idea of his knowledge of colouring; but, in that performance, he most certainly has proved that he could colour most beautifully, and why he neglected so essential a branch of his art, after producing so brilliant a specimen, is most extraordinary. This treasure is in the possession of Mr. Knowles, who has withstood every temptation to part with it, even from his dearest friend Fuseli himself; who, upon all occasions, declared it to be by far the best picture in every respect that he had produced. In my opinion, it possesses a combination of the style of Rembrandt and Titian; and is altogether, though not of so brown a cast, not unlike the usual effect of Sir Joshua Reynolds; in particular, the right arm of the female figure, which is altogether admirably drawn, is a rich, clear, and perfect specimen of flesh. There is neither name nor date upon this picture; nor was it, Mr. Knowles informs
