In _chiar'oscuro_, or the art of giving a single figure, or a composition of figures, their true light and shadow, Fuseli was a perfect master, and deserves unmixed praise for the breadth of his masses, and for directing the eye of the spectator to the principal figures or features in his pictures. In this, perhaps, no master in the British school has gone beyond him; for in his productions we witness that union of subject and tone, brought about by a skilful adaptation and disposition of light and shadow, which we look for in vain in the works of many other painters. As a teacher of the Fine Arts, whether Fuseli be considered in his capacity of Professor of Painting, or in that of Master in the schools of the Royal Academy, his knowledge stands unrivalled; in the first, for critical acumen; and in the second, which now more properly comes under consideration, for the soundness of his judgment, for the accuracy of his eye, and for the extensive knowledge which he possessed of the works of the ancient and modern masters. To the students he was a sure guide and able master, ever ready to assist by his instructions modest merit, and to repress assumption; and if he felt convinced that a youth was not likely to arrive at eminence as an artist, he was the first to persuade him to relinquish that pursuit, rather than proceed in the path which would only end in ruin or disappointment. He always held the opinion, however liable to objection, that there is no such thing in the universe of mind as ----"a flower born to blush unseen, And waste its sweetness on the desert air;" for every man, he considered, would shew what is in him, and do all that his nature has qualified him to do. To those who presumed upon a talent which they did not possess, no man was more severe. It was no uncommon thing with him, if he found in the Antique Academy a young man careless about the accuracy of his lines, and intent only upon giving a finished appearance to his drawing, to cut in, with his sharp thumb nail, a correct outline, and thus spoil, in the opinion of the student, his elaborate work. That the English school of design gained great advantages by his appointment of Keeper of the Academy, cannot be doubted; and, to be convinced of this, it is only necessary to refer to the able works of living artists, Hilton, Etty, Wilkie, Leslie, Mulready, Haydon, Briggs, and others, who were his pupils.