a little indisposed, Lady Guildford persuaded him to send an apology, which he rather reluctantly did.—It is impossible to pay too high a tribute to Lady Guildford, and her amiable and accomplished daughters Lady Susan and Lady Georgina North, for the uniform kindness with which they treated Mr. Fuseli, and for the solicitude which they evinced on his account when he appeared to be in danger. His illness, if it might be so called, for he had no particular disorder, lasted only five days. He was attended by Sir Alexander Crichton and Dr. Holland; but nature was evidently giving way, and all medical skill proved unavailing. To the last he retained the perfect possession of his faculties, and his mind was as vigorous and alert as at any former period of his life. On Mr. Knowles, who had been his daily visitor from the commencement of his indisposition, calling to see him the evening previous to his decease, Mr. Fuseli said to him, "My friend, I am going to that bourne whence no traveller returns."

It being the period of the year at which the annual exhi bition of the Royal Academy is always in active preparation, Sir Thomas Lawrence was at the time peculiarly engaged at Somerset House; but he nevertheless contrived to pay those kind attentions to his dying friend, the value of which at such a moment it is impossible adequately to appreciate. Notwithstanding his occupations, and the distance from town, Sir Thomas went to Putney Hill at least once every day during Mr. Fuseli's illness. Early on the morning of Saturday the 16th of April, 1825, Mr. Fuseli anxiously and repeatedly asked if Sir Thomas Lawrence was yet come; thus exemplifying the exquisite lines of Gray:

"On some fond breast the parting soul relies;
Some pious drops the closing eye requires."

Shortly after he expired, without suffering the least pain.

On the 17th of April Mr. Fuseli's remains were brought to town by Mr. Knowles, one of his executors, and received

at the Royal Academy by Mr. Balmanno, his other executor. On the 25th they were deposited in a private vault in the Cathedral of St. Paul, close to that of his great friend and admirer, Sir Joshua Reynolds. The procession proceeded from Somerset House about eleven o'clock, and arrived at the Cathedral a little before twelve. The hearse, drawn by six horses, was followed by eight mourning-coaches, each drawn by four, the first containing the two executors, John Knowles and Robert Balmanno, Esqrs.; the others Sir Tho. Lawrence, Pres. R. A.; Henry Howard, Esq. Sec. R. A.; Rob. Smirke, jun. Esq. Treasurer, R. A.; Sir Wm. Beechey, R.A.; Tho. Phillips, Esq. R. A.; Alf. E. Chalon, Esq. R. A.; Wm. Mulready, Esq. R. A.; G. Jones, Esq. R.A.; R. R. Reinagle, Esq. R. A.; Jeff. Wyatville, Esq. R. A.; Rev. Dr. C. Symmons; S. Cartwright, Esq.; Lord James Stuart, M. P.; Vice Adm. Sir Graham Moore, K. C. B.; Hon. Col. Howard, M. P.; Sir E. Antrobus, Bt.; W. Lock, Esq.; Samuel Rogers, Esq.; Henry Rogers, Esq.; Wm. Young Ottley, Esq.; Wm. Roscoe, Esq.; Rob. Roscoe, Esq.; B. R. Haydon, Esq.; Henry Roscoe, Esq.; T. G. Wainewright, Esq.; and M. Haughton, Esq. The procession was closed by the carriages (mostly drawn by four horses, with servants in state liveries) of the Marquess of Bute, the Countess of Guildford, Lord Rivers, Lord Ja. Stuart, Hon. Col. Howard, Vice Adm. Sir Graham Moore, Samuel Rogers, Esq., Mrs. Coutts, Sir Edm. Antrobus, Sir T. Lawrence, Dr. Symmons, Mr. Lock, Mr. Cartwright, Mr. Smirke, Mr. Wyatville, &c. &c.

In the year 1788, Mr. Fuseli married Miss Sophia Rawlins, who survives him, and to whom he has bequeathed the whole of his property.

*

On the day after the funeral, a character of Mr. Fuseli as an artist appeared in a Morning Paper, which, we understand, was written by a young artist of great promise; and which seems to us to be so just and impartial, that we must be permitted to quote it.

* The Morning Herald.

"It has with truth been remarked that the works of men of genius alone, where great faults are united with great beauties, afford proper matter for criticism; that genius, which is always eccentric, bold, and daring, at the time that it commands attention, is sure to provoke criticism; that it is the regular, cold, and timid composer who escapes censure, and deserves no praise. No man possessed more decidedly the characteristics of genius, and genius too of the very highest order, than Mr. Fuseli. No man astonished more by the occasional sublimity of his inventions, although he often fell into that infirmity of a great mind, -extravagance. That his errors arose from the same energy of character which produced his greatest beauties, is proved by his own frequent and impassioned declaration, that he would sooner be the author of the forced and capricious style of Goltzius and Spranger, than of the meagre and insipid taste of Albert Durer.

"This occasional extravagance has tended to depreciate his style in the estimation of the English public, for the vulgar will see this, when they are incapable of distinguishing beauties; but it must be acknowledged that some of his inventions are wholly free from this defect. Perhaps no composition ever had so powerful an effect on the mind of a spectator as his Lázar-House.' No work of Michael Angelo himself displays so great a diversity of character and passion. The original idea of this melancholy and terrific scene is known to have been taken from nature, which contradicts the vulgar prejudice that he never referred to that source. No man has been worthy of embodying the conceptions of Milton but him. In the contest of Satan and Death, and many others of the purest epic nature, our admiration and applause are divided between the poet and the painter. His Lycidas' and The Dream of Eve,' are pregnant with pathos, and the most exquisite poetic feeling.

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Although many of his pictures possessed that mysterious and ominous tone of colour that accords so well with his

subjects, yet it must be acknowledged upon the whole that he was not eminent as a colourist. Although in many of his works there are defects in drawing, yet for power in drawing, for style, for heroic and epic form, he commands the highest admiration as a draughtsman.

"As a man of general taste he was truly liberal. Whatever beauties he did not possess himself, he was not the less capable of appreciating and enjoying, when he found them in the works of others. The charms of colour seemed always to give him the greatest pleasure; and he even took delight in those lesser graces of art to which he himself never descended. Although his existence was valuable to all, yet by none will his loss be so severely felt as by the younger artists. No man was more acute in discerning the germ of genius, and no man more ready and more capable to foster and mature, when he found it."

Mr. Fuseli has left many manuscripts; some complete, others imperfect. Of the first description, the principal are eight Lectures on Painting, and a volume containing nearly three hundred Aphorisms on Art, which are said to manifest extraordinary power and acumen. About twenty years ago he engaged to write, and commenced a History of Modern Art. Unfortunately this history, although it consists of between five and six hundred manuscript pages, is in an unfinished state; the narrative being brought down only to the death of Michael Angelo. There is also a German poem on art, which Mr. Fuseli himself considered the best thing he ever wrote; and there are innumerable fragments, comprehending observations on art, and on artists. All these remains have been sent to Mr. Roscoe for his revision.

Besides two or three drawings, there are at least five portraits of Mr. Fuseli in existence. A portrait in profile, painted by Mr. Northcote, at Rome, in the possession of James Moore, Esq.; a portrait painted many years ago by Mr. Opie; a most characteristic cabinet picture on ivory, by Mr. Haughton; an admirable cabinet picture, by Mr. Harlowe; and a recently painted half-length, by Sir Thomas

Lawrence, of which it is enough to say, that it is one of Sir Thomas's finest and most successful productions. There is also a masterly bust of him in marble, by E. H. Baily, Esq. R.A.

We subjoin a list of the works of art that were exhibited at the Royal Academy by Mr. Fuzeli, commencing with the sixth exhibition of that body in 1774, to the period of his death, 1825, being upwards of half a century. The first two articles were exhibited while he was studying at Rome.

1774. The death of Cardinal Beaufort. A Drawing. 1777. A scene in Macbeth.

1780. Ezzelin Bracciaferro, 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.

1781. Dido.

"Illa graves oculus," &c. &c. Eneid 14. Queen Catherine's Vision. Vide Shakspeare's Hen. VIII. (act. 5.)

A Conversation.

1782. The Night-mare.

1783. The Weird Sisters.

Percival delivering Balisane from the enchantment of
Urma. Vide Tale of Thyot.

Lady Constance, Arthur, and Salisbury. Vide King
John.

1784. Lady Macbeth walking in her Sleep.

Edips with his Daughters receiving the summons of his death. Sophocles.

1785. The Mandrake; a Charm. Vide Ben Johnson's Witches:

Prospero. Vide Tempest.

1786. Francesca and Paolo. Dante's Inferno.

The Shepherd's Dream. Vide Paradise Lost, B. i.,

line 781.

Edipus devoting his Son. Vide dipus Coloneus of
Sophocles.