PHILIPPE JAMES DE LOUTHERBOURG, R.A. (1740--1812), a native of Strasburg, studied in Paris, under Casanova, the battle-painter. He acquired fame by delineating landscapes, battles, and marine subjects, and was already a member of the French Academy when he came to England in 1771. For a time De Loutherbourg was employed as a scene-painter at Drury Lane, receiving a salary of L500 a year from Garrick. His scenery was extremely meritorious, effective, and popular, but he too frequently obtruded scenic characteristics into his other pictures. He was elected an Associate of the Royal Academy in 1780, and a full member in the following year. Becoming somewhat deranged in his latter days, he assumed the gift of prophecy, and pretended to cure diseases. He was buried at Chiswick, near Hogarth. De Loutherbourg was a clever draughtsman, but neglected nature. Peter Pindar laughed at his "brass skies, and golden hills," and his "marble bullocks in glass pastures grazing." Nevertheless Turner owned great obligations to him, and he succeeded in varying the aims of landscape painters, and gave what may be called animation and dramatic expression to their art. His best-known works are, _Lord Howe's Victory on the 1st of June_, _The Fire of London_, _The Siege of Valenciennes_, _A Lake Scene in Cumberland_ (National Gallery), _Warley Common_ (Windsor Castle). The _Eidophusicon_ was a moving diorama in Spring Gardens, painted by De Loutherbourg, which "all the world went to see." HENRY FUSELI, or more correctly, _Fuessli_ (1741--1825), born at Zuerich, exercised very considerable influence on English art by his pictures and lectures. He was a scholar as well as a painter, and had been educated for the church. On first coming to England Fuseli turned his attention to literature, but was advised by Sir Joshua Reynolds, who had seen his sketches, to cultivate art. When nearly thirty years old he went to Italy, where, like Reynolds, his chief devotions were paid to the shrine of Michelangelo. Returning to England after eight years' absence, Fuseli made his first decided mark by _The Nightmare_, painted three years after his return. It is said that fully to realise the horrors of this subject the enthusiastic Swiss supped on raw pork! In 1786, Alderman Boydell, a successful engraver and art publisher, proposed a Shakespeare Gallery, with the view of proving that England contained really good painters of history. Fuseli executed nine out of the eighty-six examples in this gallery. His studies of the works of Michelangelo fitted him for the just treatment of the subjects, including _Hamlet and the Ghost_, and _Lear and Cordelia_. It has been objected that his men are all of one race, whether in reality classic, mediaeval, or Scandinavian, and that Shakespeare's women are, in his pictures, all alike, too masculine and coarse. Shakespeare is thoroughly English in taste and character, and his men and women, even if represented in Verona, or Prospero's