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Fuseli and the Shakspeare Gallery, 67 Fuseli's "Hamlet's Ghost," 68 Fuseli's Titania, 69 Fuseli's Election as a Royal Academician, 70 Fuseli and Horace Walpole, 71 Fuseli and the Banker Coutts, 72 Fuseli and Professor Porson, 73 Fuseli's method of giving vent to his Passion, 73 Fuseli's Love for Terrific Subjects, 73 Fuseli's and Lawrence's Pictures from the "Tempest," 74 Fuseli's estimate of Reynolds' Abilities in Historical Painting, 75 Fuseli and Lawrence, 75 Fuseli as Keeper of the Royal Academy, 76 Fuseli's Jests and Oddities with the Students of the Academy, 77 Fuseli's Sarcasms on Northcote, 78 Fuseli's Sarcasms on various rival Artists, 79 Fuseli's Retorts, 80 Fuseli's Suggestion of an Emblem of Eternity, 82 Fuseli's Retort in Mr. Coutts' Banking House, 82 Fuseli's Sarcasms on Landscape and Portrait Painters, 83 Fuseli's Opinion of his own Attainment of Happiness, 84 Fuseli's Private Habits, 84 Fuseli's Wife's method of Curing his fits of Despondency, 85 Fuseli's Personal Appearance, his Sarcastic Disposition, and Quick Temper, 86 Fuseli's near Sight, 87 Fuseli's Popularity, 88 Fuseli's Artistic Merits, 88 Fuseli's Milton Gallery, the Character of his Works, and the Permanency of his Fame, 89 Salvator Rosa, 91 Salvator Rosa and Cav. Lanfranco, 91 Salvator Rosa at Rome and Florence, 92 Salvator Rosa's Return to Rome, 93 Salvator Rosa's