Of this incident, which perhaps was the most important of Fuseli's life, as it was the cause of his quitting his native country, and changing his profession, he very seldom spoke; and during the whole term of our acquaintance, never mentioned the particulars but once, and then remarked, “Although I cannot but reflect with some degree of satisfaction upon the correctness of our feeling, and the courage which we displayed, yet, situated as we and our families then were, it evinced precipitation on our part, and a want of knowledge of the world."

This spirited act, on the part of Fuseli and his friends, was for some time the theme of public conversation at Zurich, and their patriotism was greatly applauded. But the disgrace which had fallen, by their means, on the accused, was felt by his powerful family, who considered, that, from their connexion with him, a part of the ignominy fell upon themselves. The tendency and natural consequences of such feelings were properly appreciated by the respective families of the young men, and they considered it prudent to recommend them to withdraw for a time from the city.

CHAPTER II.

The friends are accompanied in their journey by Professor Sulzer. They visit Augsburgh and Leipsic. Arrive at Berlin. Fuseli furnishes some designs for Bodmer's work. Baron Arnheim. - Fuseli visits Barth, in Pomerania, where he pursues his studies for six months under Professor Spalding. Motives which induce him to visit England, where he arrives in 1703, under the protection of Sir Andrew Mitchell. Lord Scarsdale: Mr. Coutts: Mr. Andrew Millar: Mr. Joseph Johnson. - Fuseli receives engagements from the booksellers. His first residence in London: becomes acquainted with Smollet: Falconer : A. Kauffman: Mrs. Lloyd: Mr. Cadell: Garrick. Fuseli accepts, and shortly after relinquishes the charge of travelling tutor to the son of the Earl of Waldegrave. His first interview with Sir Joshua Reynolds. His earliest production in oil painting. He visits Liverpool. Takes part in Rousseau's quarrel with Hume and Voltaire, (1767) and exerts his pen in the cause of his countryman.

IT was fortunate for Fuseli and his friends, that the learned Sulzer, who held the situation of professor of mathematics in the Joachimsthel College, at Berlin, was at Zurich at this time, having obtained leave from the King of Prussia to visit his native country, to endeavour to dissipate his grief for the loss of a beloved wife. Sulzer, who had taken a lively interest in the

cause which these young men had advocated, was about to return to Berlin, and offered to take them with him: this opportunity was not to be neglected; and he, Fuseli, Lavater, Jacob and Felix Hess, set out on their journey, early in the year 1763, accompanied by a numerous train of friends and admirers, who attended them as far as Winterthur, at which place they were welcomed with fervour, as the enemies of oppression.

Sulzer justly and properly appreciated what would probably be felt by young men who, for the first time, leave home and those connexions which make home dear to them; and he therefore, in order to dissipate any unpleasant feelings, determined to remain for some days at those cities or towns on the road, where there was any thing to be seen worthy of attention. The change, however, was less felt by Fuseli than by his companions; the profession in which he had been employed was not one of his choice; he had always entertained a strong desire to travel, and he had lost, a few years previously, an affectionate mother* to whom he was tenderly attached.

* Mrs. Fuseli died at Zurich, 11 April, 1759, aged 44 years. She was a woman of a most amiable disposition, and respected by all who knew her.

The first city of note at which they tarried was Augsburgh: here Fuseli showed his predilection for art, in giving, by letter to his friends at Zurich, a florid description of the sensations which he experienced on seeing the colossal figure of St. Michael over the gateway of the arsenal, the work of a Bavarian sculptor, Reichel. In the churches and senate-house of this city, the paintings of Tintoretto, Schönfeld, and Rothenhamer, attracted his particular attention; and he expressed his regret at the neglect which appeared to attend the works of the last-named' master, (whom he eulogizes as "one of the most able painters of Germany,") as his pictures were then falling into rapid decay.

At Leipsic, they were introduced by Sulzer to Ernesti, Gellert, Weisse, and other literati. From the description which Fuseli gave of the two former, it is evident that he, as well as Lavater, had paid early in life a sedulous attention to physiognomy. Of Ernesti, he says, "although he spoke of the liberality of all classes in Saxony, his countenance did not agree with his words; on the contrary, he seems to be growing intolerant from knowledge and from authorship." Of Gellert, he remarks, "he has an expressive mouth, it turns on one side with

a sensible easy smile; he is so gentle, so accustomed to express simplicity in his very countenance, and yet so quick-sighted, that he was disturbed by being looked at, and inquired whether I was displeased with him; he has certainly a tendency to hypochondria."

On their arrival at Berlin, Sulzer commenced (according to a promise made at Zurich) arrangements for publishing a splendid and improved edition of his friend Bodmer's "Noachide," which was to be embellished with engravings. B. Rhode, of Berlin, was employed to make the designs for the first four cantos; those for the remaining eight were furnished by Fuseli, who, not only to raise his own credit, but to show his gratitude to Bodmer, exerted his utmost ability upon that work. Comparing these with his former drawings, it is evident that the St. Michael, at Augsburgh, was the standard for the stupendous forms which he introduced against a murky sky, in the terrible scenes of the destruction of the primeval inhabitants of the earth. In these subjects he succeeded beyond expectation. In the more lovely scenes of the poem he was not equally happy; for," instead of repose and cheerfulness, his female figures had a degree of wantonness bordering somewhat upon voluptuousness."