Fuseli's prefatory Address to his resumed Lectures.--His second Edition of Pilkington.--He suffers from a nervous fever, and visits Hastings in company with the Biographer.--His Picture of Marcus Curius, and Letter relative to it.--Letter from Mr. Roscoe.--Canova's Intercourse with Fuseli.--Anecdotes of Fuseli and Harlow.--Letters from Fuseli to the Biographer.--Republication of his Lectures, with additions.--Death of Professor Bonnycastle, and Anecdote concerning him.--Death of Fuseli's friend and patron Mr. Coutts.--An agreeable party at Fuseli's house 304 CHAPTER XII. Decline of Fuseli's Health.--Letter from Mr. James C. Moore.--Fuseli's Bust by Baily, and Portrait by Sir Thomas Lawrence.--His last Academical Lectures.--Particulars of his Illness and Death.--Proceedings relative to his interment, with an account of the ceremony--Copy of his Will 329 CHAPTER XIII. Fuseli's personal appearance and habits.--Existing Memorials of him in Pictures and Busts.--His method of dividing his time.--Anecdotes exemplifying his irritability.--His attainments in classical and in modern Languages.--Instances of his Powers of Memory.--His intimate knowledge of English Poetry and Literature.--His admiration of Dante.--His Passion for Entomology.--His opinions of some contemporary Artists.--His conversational powers, and Anecdotes.--His deficient acquaintance with the pure Physical Sciences 350 CHAPTER XIV. Fuseli's inherent shyness of disposition.--His opinion of various noted individuals, viz. Dr. Johnson, Sterne, Sir Joshua Reynolds, Gibbon, Horne Tooke, and Thomas Paine.--His cultivation of English notions and habits.--His attachment to civil and religious Liberty.--His intimacy with theatrical matters.--His adventure at a Masquerade.--His powers as a Critic, both in Literature and Art, with various illustrative examples.--His impressions of Religion.--One of his Letters on Literature 371 CHAPTER XV. Character of Fuseli as an Artist.--His early style.--His ardent pursuit of excellence in design.--His neglect of mechanical means, particularly as regards Colours.--His professional independence, unmixed with obstinacy.--His pre-eminent faculty of invention, and success in the portraiture of the ideal.--His deficiencies as to correctness, and disinclination to laborious finish.--Causes of his limited popularity as a Painter.--His felicity in Likenesses.--His colour and chiar-oscuro.--His quality as a Teacher of the Fine Arts.--His ardent love of Art.--Arrangements as to the disposal of his Works, &c.--List of his Subjects exhibited at the Royal Academy from 1774 to 1825 395