which is in the possession of James Carrick Moore, Esq., where the shepherd and shepherdess, (exercising the licence of a painter, he has introduced the latter,) are only ten inches in length, happening to find in Mr. Johnson's garden at Fulham, a beautiful moth, he was so delighted with the insect, that in spite of all propriety and his better knowledge, he painted it the size of nature, hovering above the figures, with expanded wings. This singular appearance in the picture attracted the notice of the celebrated Dr. Jenner, who was skilled also in entomology; and being invited to dinner to meet Fuseli, he consequently enquired the subject. Mr. Moore informed him, that it was from Milton's Lycidas, and from the line, "What time the grey-fly winds his sultry horn." "No, no," replied the Doctor, "this is no greyfly, but a moth, and winds no horn; it is a mute." Fuseli, who heard this remark, knew well its accuracy, and therefore said nothing; and the respect which he had already entertained for Dr. Jenner, in consequence of his well-known discovery, which has been so useful to mankind, was heightened, by finding that he possessed also a knowledge of his favourite study; and each was amused during the evening by the other's singularities. It must be acknowledged that Fuseli was fully sensible of his various acquirements, and never underrated his own powers; although apt to undervalue those of others, particularly of some of his brother artists, and also to speak of them slightingly, because they were unacquainted with literature and even deficient in orthography: after talking with them, he has said, "I feel humbled, as if I were one of them." Mrs. Wollstonecraft was alive to this weakness in Fuseli's character, and on one occasion emphatically exclaimed, "I hate to see that reptile Vanity sliming over the noble qualities of your heart." This feeling with regard to several of the artists,--for he esteemed the acquirements of others,--was not given in reference to their powers as painters, for he had a high opinion of the English school of art in some of its branches. Of Sir Thomas Lawrence he has said to me, "The portraits of Lawrence are as well if not better drawn, and his women in a finer taste, than the best of Vandyck's; and he is so far above the competition of any painter in this way in Europe, that he should put over his study, to deter others, who practise this art, from entering, 'Lasciate ogni speranza voi ch' entrate.'" Of Turner, he has observed, "he is the only landscape-painter of genius in Europe." Wilkie, he considered "to have most of the qualities of the best painters of the Dutch school, with much more of feeling and truth;" and that "some of the fanciful pictures of Howard have poetic feeling with fine colouring."