the Royal Academy for drawings of the human figure.
It has been reported that Fuseli and Lavater, whose friendship commenced in their childhood, were obliged to quit Switzerland when very young, for most seriously and premeditatedly frightening a young lady, by attempting to produce the apparition of her deceased lover. True it is, that no persons could more mutually regard each other than Lavater and Fuseli, nor was their attachment lessened till the death of the Physiognomist, who certainly had paid every compliment to the Artist; for he not only introduced his portrait in his work, of which he spoke in the highest terms,[1] but
- ↑ Lavater, speaking of Fuseli, says:
"The curve which describes the profile in whole, is obviously one of the most remarkable; it indicates an energetic character, which spurns at the idea of trammels. The forehead, by its contours and position, is more suited to the poet than the thinker. I perceive in it more force than gentleness; the fire of imagination rather than the coolness of reason. The nose seems to be the seat of an intrepid genius. The mouth promises a spirit of application and precision, and yet it costs the original the greatest effort to give the finishing touch to the smallest piece. His extreme vivacity gets the better of that portion of attention and exactness with which Nature endowed him, and which is still distinguishable in the detail of all his works. You will even some-
