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Updated: June 23, 2025


This was, of course, Fuseli. He was accused of it, and vindicated himself 'I voted for the talent, not for the man! He was seeking to estimate the fitness of the claimant for art-honours, by means of perhaps the fairest criterion. The Academy tested on a different plan.

"The acuteness of his taste," says Fuseli, "led him to discover that, as all men were connected by one general form, so they were separated each by some predominant power, which fixed character and bound them to a class. He painted men and things as they really appeared. He also made a great advance in coloring. He invented chiaro-oscuro.

"Much" was the answer "the action suits the word Solomon holds out his fingers like a pair of open scissors at the child, and says, 'Cut it. I like it much!" Northcote remembered this when Fuseli exhibited a picture representing Hercules drawing his arrow at Pluto. "How do you like my picture?" inquired Fuseli. "Much!" said Northcote "it is clever, very clever, but he'll never hit him."

There is a fata morgana, that throws into the air a pictured land, and the deceived eye trusts till the visionary shadows glide away. "I have dreamt of a golden land," exclaimed FUSELI, "and solicit in vain for the barge which is to carry me to its shore."

This letter explains the allusions of the latter to Mary's proposed trip to France, and shows how little reason she had for her ill-natured conclusions: LONDON, June 20, 1792. ... I have been considering what you say respecting Eliza's residence in France. For some time past Mr. and Mrs. Fuseli, Mr.

The peasantry, it seems, conceiving themselves oppressed by their superior, complained and petitioned; the petitions were read by young Fuseli and his companion, who, stung with indignation at the tale of tyranny disclosed, expressed their feelings in a satire, which made a great stir in the city.

Frail tenure, on which human life and genius are lent us for a while to improve or to enjoy! Fuseli used to object to this striking delineation a want of historical correctness, inasmuch as the animating principle of the true chivalrous character was the sense of honour, not the mere regard to, or saving of, appearances.

But it is quite as likely that Fuseli, whose heart was, as his biographer admits, very susceptible, felt for her a passion which as a married man he had no right to give, and that she fled to France for his sake rather than for her own. In either of these cases, she would deserve admiration and respect.

Of course Runciman had his opinion about Hogarth and his art, despising both, no doubt, and agreeing with Fuseli in deeming him a caricaturist merely, and his works 'the chronicle of scandal and the history book of the vulgar. It was so much nobler to portray wild-contortions from Ossian, demoniac nightmares and lower region revelations, than to paint simply the life around they had but to stretch out a hand to grasp. Yet with all their talk, in the humbler merits of colour, expression, and handling, they were miles behind Hogarth. He has been so praised as a satirist, there is a chance of his technical merits as a painter being overlooked. One only of the 'Mariage

It would indeed have been, as Fuseli expressed it, "an honor to the king, by which destiny would have atoned to that monarch for his future disaster at Pavia." By ANNA JAMESON We have spoken of Leonardo da Vinci.

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