Chapter IV

Fuseli settles in London.--Interview with Mr.
Coutts.--Reconciliation with Dr. Armstrong.--Professor
Bonnycastle.--Society at Mr. Lock's.--Mr. James Carrick Moore and
Admiral Sir Graham Moore.--Sir Joshua Reynolds.--Mr.
West.--Anecdote of Fuseli and West.--The popular picture of "The
Nightmare."--Death of Fuseli's Father.--Visit to Mr. Roscoe at
Liverpool.--Fuseli's singular engagement to revise Cowper's
Iliad.--Three Letters from Mr. Cowper.--Anecdotes of Fuseli and Dr.
Geddes.

When Fuseli arrived in London, he took apartments in the house of an artist, Mr. Cartwright, whom he had known at Rome. This Gentleman then resided at No. 100, St. Martin's Lane, and practised chiefly as a portrait painter; he sometimes attempted historical subjects, in which, however, he did not excel. The kindness and simplicity of Mr. Cartwright's disposition and manners were appreciated by Fuseli, who afforded him many useful hints, and sometimes assistance, in his professional pursuits. When we look at the historical pictures which he painted, it is easy to perceive what figures owe their production to Fuseli's mind; but it must be confessed that they appear to hang to the subject

"Like a giant's robe upon a dwarfish thief."

When settled in London, his first object was to renew an acquaintance with those whose friendship he had cultivated, and, as he considered, secured before he went to Italy. On calling, for this purpose, upon Mr. Coutts, that gentleman frankly said, he was not pleased with him for the quarrel which he had with Dr. Armstrong while on board ship. Fuseli attempted to remove the impression which had been made on Mr. Coutts' mind; but that gentleman replied, "I consider that the age and talents of the Doctor should have commanded a sufficient degree of respect from you, to have prevented any rudeness on your part; and I am very sorry to tell you, that he is now labouring under a severe, and what is considered an incurable malady." This account disarmed Fuseli, who had always entertained a high opinion of the talents of Armstrong, and considered his poems, particularly that on "The Art of preserving Health," productions of great merit. He therefore determined to suppress every hostile feeling, and to call upon the Doctor without delay.

On sending up his name, he was admitted almost immediately into Armstrong's bed-chamber. The poet, however, could not restrain his naturally sarcastic humour, and the following dialogue took place:--Armstrong: "So, you have come back?" Fuseli: "Yes; I have come home." Armstrong: "Come, you mean, to London! 'the needy villain's gen'ral home;' however," (putting out his hand) "I thank you for this visit: you find me in bad plight; but I am glad to see you again." After this salutation they conversed amicably; but the Doctor did not long survive the interview.[12]

About this time, the intimacy between Fuseli and Professor Bonnycastle commenced, which was kept up during their lives. The introduction took place at Mr. Johnson's house. Fuseli's voice being heard as he ascended the staircase, Mr. Johnson said to Bonnycastle, "I will now introduce you to a most ingenious foreigner, whom I think you will like; but, if you wish to enjoy his conversation, you will not attempt to stop the torrent of his words by contradicting him."

The genius and acquirements of Fuseli soon attracted the notice of men who were distinguished for learning and talents, and more especially those who possessed also a taste for the fine arts; among whom may be particularly noticed Lord Orford, and Mr. Lock of Norbury Park, with whom, and with his eldest son in particular, he kept up a constant friendly intercourse. Fuseli not only regarded Mr. William Lock junior, for the amiability of his character and his extensive knowledge, but also for his taste and critical judgment in the fine arts, as well as for the power which he displays in historical painting, whenever he condescends to employ his pencil thereon. In this particular, he considered that Mr. W. Lock ranked as high, or higher, than any historic painter in England. The society at the house of Mr. Lock was well chosen and very select; and here he occasionally met Sir Joshua Reynolds and Dr. Moore, author of Zeluco and other popular works. Dr. Moore being highly entertained with his conversation, took an early opportunity of introducing him to his family, with the whole of whom Fuseli kept up the most uninterrupted intercourse and friendship during life.

I may, I hope, here be allowed to digress by stating, that after the marriage of Mr. James Carrick Moore and that of his brother, Admiral Sir Graham Moore, Fuseli in a manner became domesticated in their respective families. In their houses he was always a welcome and highly-favoured guest: there he was unrestrained; and his wit and gibes were allowed to sally forth sometimes upon contemporary artists, and often upon popular men, or passing events. The freedom which he enjoyed in their society, encouraged him to give utterance to the wild and unpremeditated flights of his fancy. It was with these favoured friends that he displayed the depth of his learning, his fine taste in poetry, and critical judgment in painting. By their indulgence, his intemperate expressions usually passed unnoticed, and the ebullitions of a naturally impatient temper were soothed.

Gratitude makes me acknowledge the uniform kindness which I have also experienced from Mr. Carrick Moore and his family; and that I am indebted to them for much valuable assistance in compiling the particulars of Fuseli's life, and for some of those characteristic anecdotes and reminiscences which will be found in the sequel. Fuseli has more than once said to me, after we had partaken of their hospitality, "Moore's is the most pleasant house to visit that I know," and coupled the observation with such encomiums on the sound sense, knowledge, and accomplishments of that family, (known certainly to those who have the pleasure of their acquaintance,) which, if repeated in this place, might be considered by some as flattery on my part.

When Fuseli returned to England, Sir Joshua Reynolds was in the zenith of popularity as a portrait painter; but his powers in historical painting were not then sufficiently appreciated: hence, some of his best works remained on his hands until his death; for example, the "Dido," the series of designs for the painted window at Oxford, the "Cymon and Iphigenia," and several others. West, as an historical painter, was held, at this time, in equal, if not in higher esteem by the public, than Sir Joshua. Fuseli was astonished at this, and accordingly was not backward in expressing his opinion thereon, both in writing and in conversation, for he was at no time of his life an admirer of West. He however always gave to him the merit of much skill in composing;--of a thorough knowledge of the art which he professed, and a perfect mastery over the materials which he employed; and he spoke in terms of qualified praise of his pictures of "Regulus,"--"Death of Wolfe," and "Paul shaking the viper from his hand."--But he considered that West was wanting in those qualities of the art which give value to historical design,--invention, and boldness of drawing; and being determined to show what he could do in these particulars, in 1780, Fuseli exhibited at the Royal Academy the following pictures:

"Ezzlin 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."

These paintings raised him, in the opinion of the best judges, to the highest rank in the art; and the President, Sir Joshua Reynolds, considered that they possessed so much merit, that he had them placed in prominent situations in the Exhibition.

The following anecdote has been told of Fuseli, with regard to West, which is certainly characteristic of the man, and if true, shows his feelings towards that painter in a very pointed manner. At the election of West to the chair of the Royal Academy, in the year 1803, after a secession of twelve months, the votes for his return to the office of President were unanimous, except one, which was in favour of Mrs. Lloyd, then an academician. Fuseli was taxed by some of the members with having given this vote, and answered, "Well, suppose I did, she is eligible to the office--and is not one old woman as good as another?"

The next year, 1781, he painted his most popular picture, "The Nightmare," which was considered to be unequalled for originality of conception. The drawing first made, which is now in my possession, had the words, "St. Martin's Lane, March 1781," written by him in the margin; it is a masterly performance, chiefly in black chalk, and is composed without the head of the mare. This subsequent thought is added in the picture, which, when placed in the annual exhibition of 1782, excited, as it naturally would, an uncommon degree of interest. This picture was sold by him for twenty guineas; it was subsequently engraved by Burke, and published by J. R. Smith; and so popular was the subject, that the publisher acknowledged to have gained upwards of five hundred pounds by the sale of the prints, although vended at a small price.

The conception of the subject of "The Nightmare" has been thus beautifully described by one of the most popular poets of his time,--Dr. Darwin.

"So on his NIGHTMARE, through the evening fog,
Flits the squab fiend o'er fen, and lake, and bog;
Seeks some love-wilder'd maid with sleep oppress'd
Alights, and grinning sits upon her breast--
Such as of late, amid the murky sky,
Was marked by FUSELI'S poetic eye;
Whose daring tints, with Shakspeare's happiest grace,
Gave to the airy phantom form and place--
Back o'er her pillow sinks her blushing head,
Her snow-white limbs hang helpless from the bed;
While with quick sighs and suffocative breath,
Her interrupted heart-pulse swims in death."

Fuseli painted at different periods several pictures of "the Nightmare:" but in each of them there are variations from, or additions to, the first drawing of that subject. His fame was about this time further raised by two pictures, "The Weird Sisters," and "Lady Macbeth walking in her sleep," of which excellent prints in mezzotinto were made; these also became popular, and tended to advance the merit of the artist in the opinion of connoisseurs.

In 1781, he received intelligence of the death of his father,[13] who was esteemed both as a writer and a painter, and had not only acquired a name for his talents, but for the assistance which he was at all times ready to give in furtherance of literature and the fine arts. At his decease, he had arrived at the advanced age of seventy-five years. Fuseli this year painted a picture, representing an interview, which took place in 1778, between him and his aged tutor, Bodmer. In this, Fuseli is sitting in an attitude of great attention, and Bodmer apparently speaking: the subject of the conversation may be supposed to relate to philosophy or literature, from the bust of a sage which is placed upon the mantel of the room. This picture he sent to Zurich, as a present to Solomon Escher, a friend of his, and a near relation of Bodmer. About this period, in paying a visit to Lord Orford, with whom he kept up the most familiar intercourse, he had the misfortune to fall from a horse, and, among other injuries which he received dislocated his shoulder.

In 1785, he again visited Liverpool, having received an invitation from Mr. Roscoe,[14] whose acquaintance he had made shortly after his return to this country from Italy. This visit cemented that friendship which remained unabated during his life. Of the virtues and talents of this friend, Fuseli always spoke in the highest terms of praise. Mr. Roscoe, who saw Fuseli's works with the eye of a poet, as well as with that of a connoisseur, patronized him, not only by giving him commissions at different times to paint ten pictures for himself, but by recommending his works to his numerous friends.

In January 1786, Cowper issued a prospectus for publishing a translation of Homer into English blank verse. To give the public some notion of his powers, and ability to execute the task, he sent to Mr. Johnson, his publisher, a manuscript translation of 107 lines of the 24th book of the Iliad, being part of the interview of Priam and Achilles, and also proposals for publishing the work by subscription. This specimen was shown to Fuseli, who, without hesitation, made several alterations in it, which appeared to Mr. Johnson to be so judicious, that he sent it back to Cowper for his opinion before the manuscript was printed, without, however, mentioning the name of the critic. Cowper immediately saw that these alterations were improvements, and had been made by a scholar and a man of taste; and expressed his readiness, not only to adopt them, but to attend to any suggestions, if the same person would overlook his translation. Fuseli readily agreed to do this, without the notion of any reward; and he accordingly made observations on the translation of the Iliad, and alterations therein, before the several books passed through the press.

Hayley, in his Life of Cowper, and the latter in the preface to his translation of Homer, and also in his published letters, have given many testimonials of their opinion of Fuseli, not only as a Greek scholar, but for his taste and judgment in English poetry. The former (Hayley) remarks, "It is a singular spectacle for those who love to contemplate the progress of social arts, to observe a foreigner, who has raised himself to high rank in the arduous profession of a painter, correcting, and thanked for correcting, the chief poet of England, in his English version of Homer."

The following letters, hitherto unpublished, which I have obtained through the kindness of Mr. Hunter, one of the executors to the will of the late Mr. Johnson, are additional evidence how highly Cowper estimated the assistance which he received from Fuseli.

"Olney, March 5th, 1786.

"SIR,

"I ought sooner to have acknowledged the receipt of Mr. Fuseli's
strictures; and, had I been at leisure to consult my own
gratification, should have done so. The work will be greatly
indebted to him; and I cannot help adding, though I believe I said
it before, that I account myself singularly happy in the advantages
that I shall derive to my translation from his fine taste and
accurate acquaintance with the original.

"I much wish for an answer to my question concerning my
subscribers' payments at Bristol. Have you a correspondent there
who can negotiate it? Again I remind you, though perhaps
unnecessarily, of the second volume for Richard Howard, Esq.

"I have this day sent to Lady Hesketh the remaining half of book 2,
and the whole of books 3, 4, and 5. From her they will pass to
General Cowper, and from him, I suppose, to Mr. Fuseli, in a short
time. In the interview which he had with that gentleman, he was
highly pleased with him.

"I am, Sir,

"Your most humble servant,

"William Cowper."

"Mr. Joseph Johnson."

"Olney, March 8th, 1786.

"SIR,

"You are very happy in being so intimately connected with Mr.
Fuseli, a gentleman of such exquisite taste and learning; and I
also account myself very happy, that by your means my work has
found its way into the hands of a person in all respects so
perfectly well qualified to revise it. I am only sorry, that my
distance from town permits me not (at least for the present) the
pleasure of an introduction to one to whom I am to be so much
indebted. I very sincerely thank you for interesting yourself so
much in my comfort, as to write to me principally with a view to
inform me of his approbation. You may take my word for it, that I
find your intelligence on that head a great and effectual
encouragement. I have had some anxious thoughts upon the matter, as
you may suppose, and they are guests I am always glad to dismiss
when I can; and immediately after reading your letter, accordingly
dismissed them.

"Mr. Fuseli will assuredly find room for animadversion. There are
some objectionable lines, and others that are improvable, of which
I am myself aware. When I receive the manuscript again, I will give
it a close examination, both that I may avail myself of Mr.
Fuseli's remarks to the utmost, and give to the whole of it the
best finishing that I can.[15]

* * * * *

"I am, Sir,

"Your most humble servant,

"William Cowper."

"Mr. Joseph Johnson."

"Olney, Sept. 2d, 1786.

"SIR,

* * * * *

"Present, Sir, if you please, my compliments to your friend Mr.
Fuseli, and tell him, that I shall be obliged to him if, when he
has finished the revisal of the 8th book, he will be so good as to
send it to General Cowper's, in Charles Street, together with his
strictures. Assure him, likewise, that I will endeavour, by the
closest attention to all the peculiarities of my original, to save
him as much trouble as I can hereafter. I now perfectly understand
what it is that he requires in a translation of Homer; and being
convinced of the justness of his demands, will attempt at least to
conform to them. Some escapes will happen in so long a work, which
he will know how to account for and to pardon.

"I have been employed a considerable time in the correction of the
first seven books, and have not yet begun the ninth; but I shall in
a day or two, and will send it as soon as finished.

"I am, Sir,

"Your most humble servant,

"William Cowper."

"Mr. Joseph Johnson."

Fuseli grew tired of the labour which he had imposed upon himself, before the Iliad was finished; but yet he went through the task of correcting the translation of that poem until its conclusion. The following extract of a letter to Mr. Roscoe, dated 25th November, 1789, shows his feelings upon the subject:--

"You are not surely serious when you desire to have your remarks
on Cowper's Iliad burnt; whatever they contain upon the specific
turn of language is just; many observations are acute, most
elegant: though, perhaps, I cannot agree to all; for instance, the
word rendered murky is not that which, in other passages,
expresses the negative transparency of water: it means, I believe,
in the text, a misty appearance: this depended on a knowledge of
the Greek.

"I heartily wish with you, that Cowper had trusted to his own
legs, instead of a pair of stilts, to lift him to fame."

When Cowper began the Odyssey, Fuseli pleaded, and, as will be shown, justly pleaded, that his numerous avocations would not allow him time to correct the translation; this the poet states, and regrets the circumstance in his preface. He however saw parts of the poem as it was passing through the press, and made some observations thereon: these are given in notes, to which the initial letter F. is affixed.

It is a singular fact that Fuseli never saw Cowper, nor did he ever write to him or receive a letter from him; all communications being carried on either through General Cowper, the relation of the poet, or Mr. Joseph Johnson.

The late Doctor Geddes frequently visited at Mr. Johnson's, and often met Fuseli there; both, from their natural temperament, were impatient of contradiction, and each had an opinion of his own powers, and depreciated those of the other. It was only to meet in order to dispute, and the ready wit of Fuseli usually raised the irritable temper of the doctor, who, when provoked, would burst out of the room and walk once or twice round St. Paul's Churchyard before he returned to the company; to the great amusement of Fuseli. One day he indulged himself at Johnson's table, to plague Geddes with uttering a string of truisms: Geddes at length became impatient, and said, "I wonder that you, Mr. Fuseli, who have so much ready wit, should be uttering dogmas by the hour together." Fuseli immediately answered, "You, Doctor, to find fault with dogmas,--you, who are the son of a dog--ma." The pause between the syllables instantly raised a tumult in the doctor's mind, and he replied, "Son of a b----h I suppose you mean;" and, as usual, left the room to cool himself by his accustomed round.

Dr. Geddes had a great love for horticultural pursuits. Dilating one day on the evils of fanaticism, Fuseli stopped him, by, "You, Doctor, to speak against fanaticism, when you are a fanatic."--"In what?" asked Geddes impatiently.--"In raising cucumbers," said the other.

When Cowper's translation of Homer appeared, Geddes, who was a great admirer of Pope, was irritated beyond measure at the work, but chiefly by the praises bestowed in the preface upon Fuseli; and he had not sufficient prudence even to hide what he felt, but a detail of this will be given best in the words of his intimate friend, admirer, and biographer, the late Doctor I. Mason Good.

"Pope was the idol of Geddes, and estimated by him as highly
above Cowper, as Cowper was above his contemporaries: and he
could not but look with a jealous eye upon any one who attempted
to rival the poet of his heart. Geddes was disgusted with Cowper
from the very first page, and in a fit of undue exasperation
declared he would translate Homer himself, and show that it was
possible to make as good versification, while he preserved not
only all the epithets and phraseologies of the original, which
Mr. Cowper has not done, but the very order itself. Yet what
appears principally to have irritated him, was Mr. Cowper's
declaration, towards the close of his preface, of acknowledgments
'to the learned and ingenious Mr. Fuseli,' whom he styles in the
same place 'the best critic in Homer I have ever met with.'

"Accident had frequently thrown Dr. Geddes and Mr. Fuseli into
the same company, and much learned dust had as frequently been
excited between the two critical combatants, not at all times to
the amusement of the rest of the respective parties. Whatever
opinion Mr. Fuseli may have entertained of the powers of his
antagonist, it is certain that Doctor Geddes was not very deeply
impressed with those of Mr. Fuseli, and that he scarcely allowed
him the merit to which he is actually entitled. When, therefore,
he found in Mr. Cowper's preface, that instead of consulting the
profound erudition and sterling authorities of Stephens, Clarke,
Ernesti, and Velloison, he had turned to Mr. Fuseli as his only
oracle, and had gloried in submitting to the whole of his
corrections and emendations: to his disappointment at the
inadequacy of the version, was added a contempt of the quarter to
which he had fled for assistance.

"Geddes resolved to translate Homer, and in the beginning of
1792, published a translation of the first book as a specimen. In
the preface he says, 'I beg leave to assure my readers that
neither _Fuseli nor any other profound critic_ in Homer, has
given me the smallest assistance; the whole merit or demerit of
my version rests solely with myself.' The attempt failed, and he
never succeeded beyond the first book."