See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

HENRY See also:

• HENRY FUSELI (1741-1825)

FUSELI (1741-1825)  , See also:

• ENGLISH

English painter and writer on See also:

• ART

art, of See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German-Swiss See also:

• FAMILY

family, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• ZURICH
• ZURICH (Fr. Zurich; Ital. Zurigo)

Zurich in See also:

• SWITZERLAND

Switzerland on the 7th of See also:

• FEBRUARY

February 1741; he himself asserted in 1745, but this appears to have been a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere whim . He was the second See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child in a family of eighteen . His See also:

• FATHER

father was See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Caspar Fussli, of some See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note as a painter of portraits and landscapes, and author of Lives of the Helvetic Painters . This See also:

• PARENT, SIMON NAPOLEON (1855– )

parent destined his son for the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church, and with this view sent him to the See also:

• CAROLINE
• CAROLINE (1683-1737)

Caroline See also:

• COLLEGE (Collegium)

college of his native See also:

• TOWN

town, where he received an excellent classical See also:

• EDUCATION

education . One of his schoolmates there was See also:

• LAVATER, JOHANN KASPAR (1741—1801)

Lavater, with whom he formed an intimate friendship . After taking orders in 1761 See also:

• FUSELI, HENRY (1741-1825)

Fuseli was obliged to leave his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country for a while in consequence of having aided Lavater to expose an unjust See also:

• MAGISTRATE (Lat. magistratus, from magister, master, properly a public office, hence the person holding such an office)

magistrate, whose family was still powerful enough to make its vengeance See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt . He first travelled through See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, and then, in 1765, visited See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, where he supported himself for some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time by See also:

• MISCELLANEOUS

miscellaneous See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing; there was a sort of project of promoting through his means a See also:

• REGULAR

regular See also:

• LITERARY

literary communication between England and Germany . He became in course of time acquainted with See also:

• SIR

Sir See also:

• JOSHUA, BOOK OF

Joshua See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds, to whom he showed his drawings . By Sir Joshua's See also:

• ADVICE (Fr. avis, from Lat. ad, to, and visum, viewed)

advice he then devoted himself wholly to art . In 1770 he made an art-See also:

• PILGRIMAGE (Fr. pelerinage, Lat. peregrinatio)

pilgrimage to See also:

• ITALY
• ITALY (Italia)

Italy, where he remained till 1778, changing his name from Fussli to Fuseli, as more See also:

• ITALIAN

Italian-See also:

• SOUNDING (for derivation see SOUND above)

sounding . See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

Early in 1779 he returned to England, taking Zurich on his way . He found a See also:

• COMMISSION (from Lat. commissio, committere)

commission awaiting him from See also:

• ALDERMAN (from A.-S. ealdorman, compounded of the comparative degree of the adjective eald, old, and man)

Alderman See also:

• BOYDELL, JOHN (1719-1804)

Boydell, who was then organizing his celebrated See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery .

Fuseli painted a number of pieces for this See also:

• PATRON

patron, and about this time published an English edition of Lavater's See also:

• WORK

work on See also:

• PHYSIOGNOMY

physiognomy . He like-See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

wise gave See also:

• COWPER, WILLIAM (1731-1800)
• COWPER, WILLIAM COWPER, 1ST EARL (c. 1665-1723)

Cowper some valuable assistance in preparing the See also:

• TRANSLATION

translation of See also:

• HOMER, WINSLOW (1836-191o)

Homer . In 1788 Fuseli married See also:

• MISS

Miss See also:

• SOPHIA (1630-1714)

Sophia Rawlins (who it appears was originally one of his See also:

• MODELS

models, and who proved an affectionate wife), and he soon after became an See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate of the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . Two years later he was promoted to the grade of Academician . In 1798 he exhibited a See also:

• SERIES (a Latin word from serere, to join)

series of paintings from subjects furnished by the See also:

• WORKS

works of See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton, with a view to forming a Milton gallery corresponding to Boydell's Shakespeare gallery . The number of the Milton paintings was See also:

• FORTY

forty-seven, many of them very large; they were executed at intervals within nine years . This See also:

• EXHIBITION

exhibition, which closed in 1800, proved a failure as regards profit . In 1799 also he was appointed See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of See also:

• PAINTING

painting to the Academy . Four years afterwards he was chosen keeper, and resigned his professorship; but he resumed it in 181o, and continued to holdboth offices till his See also:

• DEATH

death . In 18o5 he brought out an edition of Pilkington's Lives of the Painters, which, however, did not add much to his reputation . See also:

• CANOVA, ANTONIO (1757-1822)

Canova, when on his visit to England, was much taken with Fuseli's works, and on returning to See also:

• ROME
• ROME (Roma)

Rome in 1817 caused him to be elected a member of the first class in the Academy of St See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke . Fuseli, after a See also:

• LIFE

life of uninterrupted See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• HEALTH

health, died at Putney See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

Hill on the 16th of See also:

• APRIL

April 1825, at the advanced See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of eighty-four, and was buried in the See also:

• CRYPT (Lat. crypta, from the Gr. Kp&arrew, to hide)

crypt of St See also:

• PAUL
• PAUL (PAULUS)

Paul's See also:

• CATHEDRAL

cathedral .

He was comparatively See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich at his death, though his professional gains had always appeared to be meagre . As a painter, Fuseli had a daring invention, was See also:

• ORIGINAL

original, fertile in resource, and ever aspiring after the highest forms of excellence . His mind was capable of grasping and realizing the loftiest conceptions, which, however, he often spoiled on the See also:

• CANVAS

canvas by exaggerating the due proportions of the parts, and throwing his figures into attitudes of fantastic and over-strained contortion . He delighted to select from the region of the super-natural, and pitched everything upon an ideal See also:

• SCALE
• SCALE (1) A

scale, believing a certain amount of exaggeration necessary in the higher branches of See also:

• HISTORICAL

historical painting . " See also:

• DAMN, OLOF VON (1708-1763)

Damn Nature! she always puts me out," was his characteristic exclamation . In this theory he was confirmed by the study of See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo's works and the See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble statues of the See also:

• MONTE

Monte See also:

• CAVALLO, TIBERIUS (1749-1809)

Cavallo, which, when at Rome, he used often to contemplate in the evening, relieved against a murky See also:

• SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky or illuminated by See also:

• LIGHTNING

lightning . But this See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea was by him carried out to an excess, not only in the forms, but also in the attitudes of his figures; and the violent and intemperate See also:

• ACTION

action which he often displays destroys the See also:

• GRAND

grand effect which many of his pieces would otherwise produce . A striking See also:

• ILLUSTRATION

illustration of this occurs in his famous picture of " See also:

• HAMLET

Hamlet breaking from his Attendants to follow the See also:

• GHOST (a word common to the W. Teutonic languages; O.E. vest, Dutch, 'geest, Ger. Geist)

Ghost": Hamlet, it has been said, looks as though he would burst his clothes with convulsive cramps in all his muscles . This intemperance is the grand defect of nearly all Fuseli's compositions . On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, his paintings are never either languid or See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold . His figures are full of life and earnestness, and seem to have an See also:

• OBJECT

object in view which they follow with rigid intensity . Like See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens he excelled in the art of setting his figures in See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion .

Though the lofty and terrible was his proper See also:

• SPHERE (Gr. vclsa?pa, a ball or globe)

sphere, Fuseli had a See also:

• FINE

fine See also:

• PERCEPTION (from Lat. percipere, to perceive)

perception of the ludicrous . The See also:

• GROTESQUE

grotesque See also:

• HUMOUR (Latin humor)

humour of his See also:

• FAIRY (Fr. fee, faerie; Prov. facia; Sp. hada; Ital. fata; med. Lat. fatare, to enchant, from Lat. fatum, fate, destiny)

fairy scenes, especially those taken from A Midsummer-See also:

• NIGHT

Night's See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream, is in its way not less remarkable than the poetic See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of his more ambitious works . As a colourist Fuseli has but small claims to distinction . He scorned to set a See also:

• PALETTE (the Fr. diminutive of pale, spade, blade of an oar, from Lat. Pala, spade, baker's shovel or peel; cf. pandere, to spread)

palette as most artists do; he merely dashed his tints recklessly over it . Not unfrequently he used his paints in the See also:

• FORM (Lat. forma)

form of a dry See also:

• POWDER (through O. Fr. puldre, modern poudre, from Lat. pulvis, pulveris, dust)

powder, which he rubbed up with his See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil with oil, or See also:

• TURPENTINE (in M. Eng. turbentine, adapted through the O. Fr. turbentine or terebentine from Lat. terebinthina, sc. resina, resin of the terebinth, Gr. eepiOtvOos or eippavOos)

turpentine, or See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold See also:

• SIZE

size, regardless of the quantity, and depending for See also:

• ACCIDENT
• ACCIDENT (from Lat. accidere, to happen)

accident on the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general effect . This recklessness may perhaps be explained by the fact that he did not paint in oil till he was twenty-five years of age . Despite these draw-backs he possessed the elements of a See also:

• GREAT

great painter . Fuseli painted more than 200 pictures, but he exhibited only a minority of them . His earliest painting represented " See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph interpreting the Dreams of the See also:

• BAKER, HENRY (1698-1774)
• BAKER, SIR BENJAMIN (1840-1907)
• BAKER, SIR RICHARD (1568-1644/5)
• BAKER, SIR SAMUEL WHITE (1821-1893)
• BAKER, THOMAS (1656-1740)
• BAKER, VALENTINE [BAKER PASHA] (1827-1887)

Baker and See also:

• BUTLER
• BUTLER (or BOTELER), SAMUEL (1612–168o)
• BUTLER (through the O. Fr. bouteillier, from the Late Lat. buticularius, buticula, a bottle)
• BUTLER, ALBAN (1710-1773)
• BUTLER, BENJAMIN FRANKLIN (1818-1893)
• BUTLER, CHARLES (1750–1832)
• BUTLER, GEORGE (1774-1853)
• BUTLER, JOSEPH (1692-1752)
• BUTLER, NICHOLAS MURRAY (1862– )
• BUTLER, SAMUEL (1774-1839)
• BUTLER, SAMUEL (1835-1902)
• BUTLER, SIR WILLIAM FRANCIS (1838– )
• BUTLER, WILLIAM ARCHER (1814-1848)

Butler"; the first to excite particular See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention was the " Nightmare," exhibited in 1782 . He produced only two portraits . His sketches or designs numbered about Boo; they have admirable qualities of invention and See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design, and are frequently See also:

• SUPERIOR

superior to his paintings . His general See also:

• POWERS, HIRAM (1805-1873)

powers of mind were large .

He was a thorough See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French, Italian, English and German, and could write in all these See also:

• TONGUES, GIFT OF, or GLOSSOLALIA (yXwova, tongue, aXeiv, speak)

tongues with equal facility and vigour, though he preferred German as the vehicle of his thoughts . His writings contain passages of the best art-See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism that English literature can show . The See also:

• PRINCIPAL

principal work is his series of Lectures in the Royal Academy, twelve in number, commenced in 18or . Many interesting anecdotes of Fuseli, and his relations to See also:

• CON

con-temporary artists, are given in his Life by John See also:

• KNOWLES, JAMES SHERIDAN (1784-1862)
• KNOWLES, SIR JAMES (1831-1908)

Knowles, who also edited his works in 3 vols . 8vo, See also:

• LONDON

London, 1831 . (W . M .