letters in which she avows her passion for the painter, whilst declaring that, were it criminal, she would conquer it, or die in the attempt. In another of the quotations she declares her hope of uniting herself to the painter’s mind. In a third quotation, after the failure of her application to Mrs. Fuseli, Mary begs the painter’s pardon ‘for having disturbed the quiet tenour of his life.’ A fourth quotation gives the whole of the angry letter (signed ‘Mary’) in which, after her return from France to England (and long after the death of her passion for the painter), she scolds Fuseli for not returning a visit she paid him;--a letter curiously in harmony with Mr. Knowles’s narrative. Thus the character of the narrative is supported by the high character of the narrator; by his singularly good opportunities for ascertaining the truth; by the fact that he was Fuseli’s most confidential friend; by his intimacy with Mrs. Fuseli; and by the conclusive quality of his superabundant documentary evidence. The statement is in perfect harmony with Mary Wollstonecraft’s career. It is a statement in which Fuseli, his wife, John Knowles, and Mary Wollstonecraft herself, may be said to stand forth as witnesses to its truth. Yet further, the statement is supported in its most important assertion by Godwin himself, who speaking, in his memoir of his first wife, of her intimacy with Fuseli, expresses a strong opinion that, had he been unmarried, she would have wished to become the painter’s wife.