Part 5

"Not far distant from the amphitheatre are two semicircular theatres, one of which is supposed to have been appropriated to tragedy and the other to comedy. The first mentioned is large, and built of stone, or a substance called _tufo_, covered with marble. It had no roof. The Proscenium and Orchestra remain. The stage, or rather the place where it was, is of considerable width, but so very shallow that stage effect, as regards scenery, could not have been much studied, nor indeed did the dramas of the ancients require it. The comic theatre is small, and nearly perfect. It appears to have had a roof or covering. These two theatres are close together. Of the public edifices discovered, the Temple of Isis is one of the most interesting. It is of brick, but coated with a hard and polished stucco. The altars for sacrifice remain unmolested. A hollow pedestal or altar yet exists, from which oracles were once delivered to the credulous multitude, and we behold the secret stairs by which the priests descended to perform the office. In the chamber of this Temple, which may have been a refectory, were found some of the remains of eatables, which are now in the museum. I recollect noticing egg-shells, bread, with the maker's name or initials stamped thereon, bones, corn, and other articles, all burnt black, but perfect in form. The Temple of Hercules, as it is denominated, is a ruin, not one of its massive fragments being left upon another. It was of the Doric order of architecture, and is known to have suffered severely by an earthquake some years before the fatal eruption. Not far from this temple is an extensive court or forum, where the soldiers appear to have had their quarters. In what has evidently been a prison, is an iron frame, like the modern implements of punishment, the stocks, and in this frame the skeletons of some unfortunate culprits were found. On the walls of what are called the soldiers' quarters, from the helmets, shields, and pieces of armor which have been found there, are scrawled names and rude devices, just as we find on the walls of the buildings appropriated to the same purpose in the present day. At this point of the city, travelers who have entered at the other, usually make their exit. The scene possessed far too great an interest, however, in my eyes, to be hastily passed over, and on more than one visit, I lingered among the deserted thresholds, until the moon had thrown her chaste light upon this city of the dead. The feelings excited by a perambulation of Pompeii, especially at such an hour, are beyond the power of my pen to describe. To behold her streets once thronged with the busy crowd, to tread the forum where sages met and discoursed, to enter the theatres once filled with delighted thousands, and the temples whence incense arose, to visit the mansions of the opulent which had resounded with the shouts of revelry, and the humbler dwellings of the artisan, where he had plied his noisy trade, in the language of an elegant writer and philosopher, to behold all these, now tenantless, and silent as the grave, elevates the heart with a series of sublime meditations."

ANCIENT FRESCO AND MOSAIC PAINTING.

The ancients well understood the arts of painting both in fresco and mosaic, as is evinced by the discoveries made at Rome, but more especially at Pompeii. The most remarkable pictures discovered at Pompeii have been sawed from the walls, and deposited in the Royal Museums at Naples and Portici, for their preservation. Not only mosaic floors and pavements are numerous in the mansions of the wealthy at Pompeii, but some walls are decorated with pictures in mosaic.

MOSAIC OF THE BATTLE OF PLATÆA.

A grand mosaic, representing as some say the Battle of Platæa, and others, with more probability one of the victories of Alexander, is now in the Academy at Naples. It was discovered at Pompeii, and covered the whole side of the apartment where it was found. This great work is the admiration of connoisseurs and the learned, not only for its antiquity, but for the beauty of its execution. The most probable supposition is, that it is a copy of the celebrated Victory of Arbela, painted by Philoxenes, and described by Pliny as one of the most remarkable works of antiquity, with whose description the mosaic accords.

THE ALDOBRANDINI WEDDING.

This famous antique fresco was discovered in the time of Clement VIII., not far from the church of S. Maria Maggiore, in the place where were the gardens of Mæcenas. It was carried from thence into the villa of the princely house of the Aldobrandini; hence its name. It is very beautifully executed, and evidently intended to represent or celebrate a wedding. Winckelmann supposes it to be the wedding of Peleus and Thetis; the Count Bondi, that of Manlius and Julia.

THE PORTLAND VASE.

The most celebrated antique vase is that which, during more than two centuries, was the principal ornament of the Barberini Palace, and which is now known as the Portland Vase. It was found about the middle of the 16th century, enclosed in a marble sarcophagus within a sepulchral chamber under Monte del Grano, two miles and a half from Rome, supposed to have been the tomb of Alexander Severus, who died in the year 235. It is ornamented with white opaque figures in bas-relief, upon a dark blue transparent ground; the subject of which has not hitherto received a satisfactory elucidation, though it is supposed to represent the Eleusinian Mysteries; but the design, and more particularly the execution, are truly admirable. The whole of the blue ground, or at least the part below the handles, must have been originally covered with white enamel, out of which the figures have been sculptured in the style of a cameo, with most astonishing skill and labor. This beautiful Vase is sufficient to prove that the manufacture of glass was carried to a state of high perfection by the ancients. It was purchased by the Duchess of Portland for 1000 guineas, and presented to the British Museum in 1810.

The subterranean ruins of Herculaneum afforded many specimens of the glass manufacture of the ancients: a great variety of phials and bottles were found, and these were chiefly of an elongate shape, composed of glass of unequal thickness, of a green color, and much heavier than common glass; of these the four large cinerary urns in the British Museum are very fine specimens. They are of an elegant round figure, with covers, and two double handles, the formation of which must convince persons capable of appreciating the difficulties which even the modern glass-maker would have in executing similar handles, that the ancients were well acquainted with the art of making round glass vessels; although their knowledge appears to have been extremely limited as respects the manufacture of square vessels, and more particularly of oval, octagonal, or pentagonal forms. Among a great number of lachrymatories and various other vessels in the British Museum, there is a small square bottle with a handle, the rudeness of which sufficiently bears out this opinion.

ANCIENT PICTURES OF GLASS.

A most singular art of forming pictures with colored glass seems to have been practiced by the ancients, which consisted in laying together fibres of glass of various colors, fitted to each other with the utmost exactness, so that a section across the fibres represented the object to be painted, and then cementing them into a homogeneous mass. In some specimens of this art which were discovered about the middle of the 18th century, the painting has on both sides a granular appearance, and seems to have been formed in the manner of mosaic work; but the pieces are so accurately united, that not even with the aid of a powerful magnifying glass can the junctures be discovered. One plate, described by Winckelmann, exhibits a Duck of various colors, the outlines of which are sharp and well-defined, the colors pure and vivid, and a brilliant effect is obtained by the artist having employed in some parts an opaque, and in others a transparent glass. The picture seems to be continued throughout the whole thickness of the specimen, as the reverse corresponds in the minutest points to the face; so that, were it to be cut transversely, the same picture of the Duck would be exhibited in every section. It is conjectured that this curious process was the first attempt of the ancients to preserve colors by fusing them into the internal part of glass, which was, however, but partially done, as the surfaces have not been preserved from the action of the atmosphere.

HENRY FUSELI--HIS BIRTH.

This eminent historical painter, and very extraordinary man, was born at Zurich, in Switzerland, in 1741, according to all accounts save his own; but he himself placed it in 1745, without adding the day or month. He always spoke of his age with reluctance. Once, when pressed about it, he peevishly exclaimed, "How should I know? I was born in February or March--it was some cursed cold month, as you may guess from my diminutive stature and crabbed disposition." He was the son of the painter, John Caspar Fuseli, and the second of eighteen children.

FUSELI'S EARLY LOVE OF ART.

During his school-boy days, as soon as released from his class, he was accustomed to withdraw to a secret place to enjoy unmolested the works of Michael Angelo, of whose prints his father had a fine collection. He loved when he grew old to talk of those days of his youth, of the enthusiasm with which he surveyed the works of his favorite masters, and the secret pleasure which he took in acquiring forbidden knowledge. With candles which he stole from the kitchen, and pencils which his pocket-money was hoarded to procure, he pursued his studies till late at night, and made many copies from Michael Angelo and Raffaelle, by which he became familiar thus early with the style and ruling character of the two greatest masters of the art.

FUSELI'S LITERARY AND POETICAL TASTE.

He early manifested strong powers of mind, and with a two-fold taste for literature and art, he was placed in Humanity College at Zurich, of which two distinguished men, Bodmer and Breitenger, were professors. Here he became the bosom companion of that amiable enthusiast, Lavater, studied English, and conceived such a love for the works of Shakspeare, that he translated Macbeth into German. The writings of Wieland and Klopstock influenced his youthful fancy, and from Shakspeare he extended his affection to the chief masters in English literature. His love of poetry was natural, not affected--he practiced at an early age the art which he admired through life, and some of his first attempts at composition were pieces in his native language, which made his name known in Zurich.

FUSELI, LAVATER, AND THE UNJUST MAGISTRATE.

In conjunction with his friend Lavater, Fuseli composed a pamphlet against a ruler in one of the bailiwicks, who had abused his powers, and perhaps personally insulted the two friends. The peasantry, it seems, conceiving themselves oppressed by their superior, complained and petitioned; the petitions were read by young Fuseli and his companion, who, stung with indignation at the tale of tyranny disclosed, expressed their feelings in a satire, which made a great stir in the city. Threats were publicly used against the authors, who were guessed at, but not known; upon which they distributed placards in every direction, offering to prove before a tribunal the accusations they had made. Nay, Fuseli actually appeared before the magistrates--named the offender boldly--arraigned him with great vehemence and eloquence, and was applauded by all and answered by none. Pamphlets and accusations were probably uncommon things in Zurich; in some other countries they would have dropped from the author's hands harmless or unheeded; but the united labors of Fuseli and Lavater drove the unjust magistrate into exile, and procured remuneration to those who had suffered.

FUSELI'S TRAVELS, AND HIS LITERARY DISTINCTION.

Fuseli early gained a reputation for scholarship, poetry, and painting. He possessed such extraordinary powers of memory, that when he read a book once, he thoroughly comprehended its contents; and he not only wrote in Latin and Greek, but spoke them with the fluency of his native tongue. He acquired such a perfect knowledge of the several modern languages of Europe, especially of the English, French, and Italian, that it was indifferent to him which he spoke or wrote, except that when he wished to express himself with most power, he said he preferred the German. After having obtained the degree of Master of Arts from the college at Zurich, Fuseli bade farewell to his father's house, and traveled in company with Lavater to Berlin, where he placed himself under the care of Sulzer, author of the "Lexicon of the Fine Arts." His talents and learning obtained him the friendship of several distinguished men, and his acquaintance with English poetry induced Professor Sulzer to select him as one well qualified for opening a communication between the literature of Germany and that of England. Sir Andrew Mitchell, British ambassador at the Prussian court, was consulted; and pleased with his lively genius, and his translations and drawings from Macbeth and Lear, he received Fuseli with much kindness, and advised him to visit Britain. Lavater, who till now had continued his companion, presented him at parting with a card, on which he had inscribed in German. "Do but the tenth part of what you can do." "Hang that up in your bed-head," said the physiognomist, "obey it--and fame and fortune will be the result."

FUSELI'S ARRIVAL IN LONDON.

Fuseli arrived in the capital of the British Empire early one morning, before the people were stirring. "When I stood in London," said he, "and considered that I did not know one soul in all this vast metropolis, I became suddenly impressed with a sense of forlornness, and burst into a flood of tears. An incident restored me. I had written a long letter to my father, giving him an account of my voyage, and expressing my filial affection--now not weakened by distance--and with this letter in my hand, I inquired of a rude fellow whom I met, the way to the Post Office. My foreign accent provoked him to laughter, and as I stood cursing him in good Shaksperian English, a gentleman kindly directed me to the object of my inquiry."

FUSELI'S CHANGE FROM LITERATURE TO PAINTING.

Fuseli's wit, learning, and talents gained him early admission to the company of wealthy and distinguished men. He devoted himself for a considerable time after his arrival in London to the daily toils of literature--translations, essays, and critiques. Among other works, he translated Winckelmann's book on Painting and Sculpture. One day Bonnycastle said to him, after dinner,

"Fuseli, you can write well,--why don't you write something?"

"Something!" exclaimed the other; "you always cry write--Fuseli write!--blastation! what shall I write?"

"Write," said Armstrong, who was present, "write on the Voltaire and Rousseau _Row_--_there_ is a subject!"

He said nothing, but went home and began to write. His enthusiastic temper spurred him on, so that he composed his essay with uncommon rapidity. He printed it forthwith; but the whole edition caught fire and was consumed! "It had," says one of his friends, "a short life and a bright ending."

While busied with his translations and other literary labors, he had not forgotten his early attachment to Art. He found his way to the studio of Sir Joshua Reynolds, and submitted several of his drawings to the President's examination, who looked at them for some time, and then said, "How long have you studied in Italy?" "I never studied in Italy--I studied at Zurich--I am a native of Switzerland--do you think I should study in Italy?--and, above all, is it worth while?" "Young man," said Reynolds, "were I the author of these drawings, and were offered ten thousand a year _not_ to practice as an artist, I would reject the proposal with contempt." This very favorable opinion from one who considered all he said, and was so remarkable for accuracy of judgment, decided the destiny of Fuseli; he forsook for ever the hard and thankless _trade_ of literature--refused a living in the church from some patron who had been struck with his talents--and addressed himself to painting with heart and hand.

FUSELI'S SOJOURN IN ITALY.

No sooner had Fuseli formed the resolution of devoting his talents to painting, in 1770, than he determined to visit Rome. He resided in Italy eight years, and studied with great assiduity the pictures in the numerous galleries, particularly the productions of Michael Angelo, whose fine and bold imagination, and the lofty grandeur of his works, were most congenial to his taste. It was a story which he loved to tell in after life, how he lay on his back day after day, and week after week, with upturned and wondering eyes, musing on the splendid ceiling of the Sistine chapel--on the unattainable grandeur of the great Florentine. During his residence abroad, he made notes and criticisms on everything he met with that was excellent, much of which he subsequently embodied in his lectures before the Royal Academy. His talents, acquirements, and his great conversational powers made his society courted; and he formed some valuable acquaintances at Rome, particularly among the English nobility and gentry, who flocked there for amusement, and who heralded his fame at home. He also sent some of his choice drawings, illustrating Shakspeare and Milton, to the annual exhibitions of the Royal Academy. In 1778, he left Italy and returned to England, passing through Switzerland and his native city.

FUSELI'S "NIGHTMARE."

Soon after his return to England, Fuseli painted his "Nightmare," which was exhibited in 1782. It was unquestionably the work of an original mind. "The extraordinary and peculiar genius which it displayed," says one of his biographers, "was universally felt, and perhaps no single picture ever made a greater impression in this country. A very fine mezzotinto engraving of it was scraped by Raphael Smith, and so popular did the print become, that, although Mr. Fuseli received only twenty guineas for the picture, the publisher made five hundred by his speculation." This was a subject suitable to the unbridled fancy of the painter, and perhaps to no other imagination has the Fiend which murders our sleep ever appeared in a more poetical shape.

FUSELI'S "OEDIPUS AND HIS DAUGHTERS."

This picture was a work of far higher order than his "Nightmare," although the latter caught the public fancy most. It is distinguished by singular power, full of feeling and terror. The desolate old man is seated on the ground, and his whole frame seems inspired with a presentiment of the coming vengeance of heaven. His daughters are clasping him wildly, and the sky seems mustering the thunder and fire in which the tragic bard has made him disappear. "Pray, sir, what is that old man afraid of?" said some one to Fuseli, when the picture was exhibited. "Afraid, sir," exclaimed the painter, "why, afraid of going to hell!"

FUSELI AND THE SHAKSPEARE GALLERY.

His rising fame, his poetic feeling, his great knowledge, and his greater confidence, now induced Fuseli to commence an undertaking worthy of the highest genius--the Shakspeare Gallery. An accidental conversation at the table of the nephew of Alderman Boydell, started, as it is said, the idea; and West, Romney, and Hayley shared with Fuseli in the honor. But to the mind of the latter, such a scheme had been long present; it dawned on his fancy in Rome, even as he lay on his back marveling in the Sistine, and he saw in imagination a long and shadowy succession of pictures. He figured to himself a magnificent temple, and filled it, as the illustrious artists of Italy did the Sistine, with pictures from his favorite poet. All was arranged according to character. In the panels and accessories were the figures of the chief heroes and heroines--on the extensive walls were delineated the changes of many-colored life, the ludicrous and the sad--the pathetic and the humorous--domestic happiness and heroic aspirations--while the dome which crowned the whole exhibited scenes of higher emotion--the joys of heaven--the agonies of hell--all that was supernatural and all that was terrible. This splendid piece of imagination was cut down to working dimensions by the practiced hands of Boydell, who supported the scheme anxiously and effectually. On receiving £500 Reynolds entered, though with reluctance, into an undertaking which consumed time and required much thought; but Fuseli had no rich commissions in the way--his heart was with the subject--in his own fancy he had already commenced the work, and the enthusiastic alderman found a more enthusiastic painter, who made no preliminary stipulations, but prepared his palette and began.

FUSELI'S "HAMLET'S GHOST."

This wonderful work, engraved for Boydell's Shakspeare Gallery, is esteemed among the best of Fuseli's works. It is, indeed, strangely wild and superhuman--if ever a Spirit visited earth, it must have appeared to Fuseli. The "majesty of buried Denmark" is no vulgar ghost such as scares the belated rustic, but a sad and majestic shape with the port of a god; to imagine this, required poetry, and in that our artist was never deficient. He had fine taste in matters of high import; he drew the boundary line between the terrible and the horrible, and he never passed it; the former he knew was allied to grandeur, the latter to deformity and disgust. An eminent metaphysician visited the gallery before the public exhibition; he saw the Hamlet's Ghost of Fuseli, and exclaimed, like Burns' rustic in Halloween, "Lord, preserve me!" He declared that it haunted him round the room.

FUSELI'S "TITANIA."

His Titania (also engraved in the Shakspeare Gallery), overflows with elvish fun and imaginative drollery. It professes to embody that portion of the first scene in the fourth act where the spell-blinded queen caresses Bottom the weaver, on whose shoulders Oberon's transforming wand has placed an ass' head. Titania, a gay and alluring being, attended by her troop of fairies, is endeavoring to seem as lovely as possible in the sight of her lover, who holds down his head and assumes the air of the most stupid of all creatures. One almost imagines that her ripe round lips are uttering the well-known words,--

"Come sit thee down upon this flowery bed, While I thy amiable cheeks do coy, And stick musk roses in thy sleek smooth head, And kiss thy fair large ears, my gentle joy."

The rout and revelry which the fancy of the painter has poured around this spell-bound pair, baffles all description. All is mirthful, tricksy, and fantastic. Sprites of all looks and all hues--of all "dimensions, shapes, and mettles,"--the dwarfish elf and the elegant fay--Cobweb commissioned to kill a red-hipped humble-bee on the top of a thistle, that Bottom might have the honey-bag--Pease-Blossom, who had the less agreeable employment of scratching the weaver's head--and that individual fairy who could find the hoard of the squirrel and carry away his nuts--with a score of equally merry companions are swarming everywhere and in full employment. Mustard-Seed, a fairy of dwarfish stature, stands on tiptoe in the hollow of Bottom's hand, endeavoring to reach his nose--his fingers almost touch, he is within a quarter of an inch of scratching, but it is evident he can do no more, and his new master is too much of an ass to raise him up.

FUSELI'S ELECTION AS A ROYAL ACADEMICIAN.