Art/ Collection/ Art Object

The Night-Hag Visiting Lapland Witches

Henry Fuseli (Swiss, Zürich 1741–1825 London)
Oil on canvas
40 x 49 3/4 in. (101.6 x 126.4 cm)
Credit Line:
Purchase, Bequest of Lillian S. Timken, by exchange, and Victor Wilbour Memorial, The Alfred N. Punnett Endowment, Marquand and Charles B. Curtis Funds, 1980
Accession Number:
Not on view
This canvas, first exhibited in 1799, was sold by the artist in 1808 to his biographer, John Knowles. It illustrates a passage from Paradise Lost (II, 622–66) in which the hellhounds surrounding Sin are compared to those who "follow the night-hag when, called, / In secret, riding through the air she comes, Lured with the smell of infant blood, to dance / With Lapland witches, while the laboring moon Eclipses at their charms." "Night-hag" is an epithet of the Greek goddess Hecate, who presided over witchcraft and magical rites.
The Artist: The painter, draftsman, author, and art theorist Henry Fuseli (Johann Heinrich Füssli) was born in Zürich in 1741. A son of the painter and art historian Johann Caspar Füssli (1706–1782), he received a classical education at Zürich’s famed Collegium Carolinum, where his teachers included the influential philologists and Anglophiles Johann Jakob Bodmer and Johann Jakob Breitinger, who prepared the way for Fuseli’s lifelong engagement with English literature. In 1761 he was ordained a Zwinglian minister but soon abandoned that profession. Over the next several years, he worked as an author, translator, and illustrator in Berlin and in London, his eventual adopted home. As an artist, Fuseli was mainly self-trained. With the encouragement of Sir Joshua Reynolds, he decided to become a painter and in 1770 traveled to Rome, where he spent eight years studying ancient art and pursuing his interest in the late works of Michelangelo and in Mannerist art in general. Fuseli and his circle in Rome rejected the neoclassicism of Johann Joachim Winckelmann (1717–1768; see MMA 48.141) and instead developed an aesthetic of excess and expressiveness. Back in London, Fuseli’s rising status as a painter led to positions of ever-increasing official prominence: admission to the Royal Academy of Arts in 1788, election to full Academician in 1790, promotion to Professor in 1799, and elevation to Keeper in 1804. He died in 1825 and was interred at Saint Paul’s Cathedral. Fuseli stands out for the rigor with which he mined the works of great authors—especially Shakespeare and Milton—for hitherto unrecognized subject matter for painting. His predilection for the bizarre and fantastical ensured his fame in modern times.

The Picture: The canvas at the Metropolitan Museum belongs to one of Fuseli’s most extensive and ambitious projects, the so-called Milton Gallery, a series of forty-seven paintings begun in 1791, inspired by Paradise Lost, Paradise Regained, and other works of the poet, and including seven scenes from Milton’s life. The Museum’s picture is based on an inconspicuous simile in Paradise Lost which compares the dogs surrounding Sin, guard at the gates of Hell, to those who "follow the Night-Hag, when call’d / In secret, riding through the Air she comes / Lur’d with the smell of infant blood, to dance / With Lapland Witches, while the labouring Moon / Eclipses at thir charms" (II:662–66). In the picture, the night hag, thinly painted and phantom-like, appears in the upper background on a galloping horse, accompanied by a reeling pack of hellhounds. In the middle ground, right and left, witches dance to the beat of drums. The infant sacrifice to which Milton alludes is underway in the foreground. A hulking witch draped in a fur cape has laid out a naked child on a slab. In the immediate foreground, a figure that is visible only as two brawny hands ascends a ladder, holding aloft a gleaming white knife. The witch looks upward, awaiting the approach of the night hag, and begins to reach her right hand toward the blade. Her large, dagger-shaped braid, pointing directly at the child’s neck, leaves no doubt of what will happen next.

As documented in Fuseli’s correspondence, the painting was completed by 1796. It appeared in the first exhibition of the Milton Gallery in 1799. The initial version of the title, mentioned in a letter of 1794, was The Night-Hag Visiting Lapland Witches. By the time of the exhibition, however, Fuseli had changed it to Lapland Orgies, which Luisa Calè (2006, p. 163) has maintained is the more appropriate title, as the one the artist ultimately chose for presentation to the public. Fuseli sold the painting in 1808 to his future biographer John Knowles, whom he is said to have praised for selecting a work that "requires a poetic mind to feel and love" (Cunningham 1830, pp. 303–4).

In both Milton’s time and in Fuseli’s, Lapland, the northernmost region of Europe, was commonly associated with sorcery and paganism. Drums were known to accompany Lapland ceremonies—hence the frenzied figures in the left middle ground (Feingold 1982, p. 52). For the witches at the right, Fuseli based the head of the forward-facing dancer on the Rondanini Medusa (Glyptothek, Munich), a much admired ancient sculpture (see MMA 67.110.1), whose associations with terror would have been recognized by contemporary viewers (Feingold 1982, p. 53). Although Milton’s night hag is often interpreted as a reference to Hecate, the ancient goddess of witchcraft, Fuseli appears not to have pursued that classical allusion for his hag on horseback (Feingold 1982, p. 54). Instead, the painter appears to have seen the hag as a female demon, or succubus, and thus approached this canvas as another treatment of the nightmare theme to which he had already given famous expression (Feingold 1982, pp. 54–61; see The Nightmare, 1781, Detroit Institute of Arts).

Given the general resemblance of the witch and child in the foreground to traditional representations of the Madonna and Child (see, for example, MMA 30.95.256), Calè suggested that Fuseli staged this witches’ sabbath and infant sacrifice as a mock Eucharist, possibly influenced by then-current Unitarian criticism of corruption within the Christian Church (2006, pp. 169–71).

[Joshua P. Waterman 2013]
the artist, Henry Fuseli, London (1796–1808; sold to Knowles); John Knowles, London (1808–at least 1831); Boyd family, Penkill Castle, Girvan, Ayrshire, Scotland (until about 1920; given by Mrs. Boyd to Mrs. Smith); Mrs. Smith, Girvan (from about 1920); her son, M. Smith, Girvan (until 1980; sale, Sotheby's, London, July 9, 1980, no. 79, for £22,000 to a consortium of dealers); [Feigen, et al., New York, 1980; sold to MMA]
London. Pall Mall Gallery. "Milton Gallery," May 20–?July 31, 1799, no. VIII (as "Lapland Orgies," lent by the artist).

London. Pall Mall Gallery. "Milton Gallery," March 21–?, 1800, no. VIII (as "Lapland Orgies," lent by the artist).

Staatsgalerie Stuttgart. "Johann Heinrich Füssli: das verlorene Paradies," September 27, 1997–January 11, 1998, no. 33.

London. Tate Britain. "Gothic Nightmares: Fuseli, Blake and the Romantic Imagination," February 15–May 1, 2006, no. 91.

Henry Fuseli. Letter to William Roscoe. April 30, 1794 [published in Hugh Macandrew, "Selected Letters from the Correspondence of Henry Fuseli and William Roscoe of Liverpool," Gazette des beaux-arts 62, pér. 6 (October 1963), p. 212], as "Nighthag Visiting Lapland Witches"; lists it among pictures he has painted for the Milton Gallery.

Henry Fuseli. Letter to William Roscoe. August 9, 1796 [published in Hugh Macandrew, "Selected Letters from the Correspondence of Henry Fuseli and William Roscoe of Liverpool," Gazette des beaux-arts 62, pér. 6 (October 1963), pp. 214–15], as "Similes of the Nighthag visiting the Lapland witches".

Allan Cunningham. The Lives of the Most Eminent British Painters, Sculptors, and Architects. Vol. 2, 2nd ed. London, 1830, pp. 303–4, states that when Fuseli sold the picture to Knowles in 1808, the artist called it "one of my very best—yet no one has asked its price till now—it requires a poetic mind to feel and love such a work".

John Knowles. The Life and Writings of Henry Fuseli. Ed. John Knowles. London, 1831, vol. 1, pp. 208, 408, reprints the catalogue of the 1799 Milton Gallery exhibition; notes that the picture is now in his [Knowles's] possession.

G. Walter Thornbury. "Fuseli in Somerset House." Art-Journal 22 (May 1, 1860), pp. 135–36.

Laurence Binyon. Catalogue of Drawings by British Artists and Artists of Foreign Origin Working in Great Britain. Vol. 2, London, 1900, p. 172, catalogues a drawing as by Fuseli, calling it "The Night Hag" and noting that Fuseli painted the same subject (the MMA work) for his Milton Gallery.

Arnold Federmann. Johann Heinrich Füssli: Dichter und Maler, 1741–1825. Zürich, 1927, p. 171, as "Lapland Orgies, the hell-hounds round Sin".

Gert Schiff. Johann Heinrich Füsslis Milton-Galerie. Zürich, 1963, pp. 14, 18, 38, 144, 163, calls it lost.

Marcia R. Pointon. Milton & English Art. Toronto, 1970, pp. 110, 256, illustrates Fuseli's drawing "The Night Hag" (British Museum, London), suggesting that it was probably a study for the MMA picture [the drawing bears no resemblance to the MMA work, the composition of which was unknown at the time of Pointon's writing].

Gert Schiff. Johann Heinrich Füssli, 1741–1825. Zürich, 1973, vol. 1, pp. 649, 704, no. 35 under lost works.

Paola Viotto. L'opera completa di Füssli. Milan, 1977, p. 97, no. 127.

Seventeenth, Eighteenth, and Nineteenth Century British Paintings. Sotheby's, London. July 9, 1980, pp. 108–10, no. 79, ill. (color), as the property of a gentleman; states that "its appearance . . . at Penkill Castle must have been at the instigation of David Scott, who was influenced by Fuseli and who was a close friend of the Boyd family".

Lucy Oakley in The Metropolitan Museum of Art: Notable Acquisitions, 1980–1981. New York, 1981, p. 46, ill.

Lawrence Feingold. "Fuseli, Another Nightmare: 'The Night-Hag Visiting Lapland Witches'." Metropolitan Museum Journal 17 (1982), pp. 49–61, fig. 1.

Christoph Becker. Johann Heinrich Füssli: das verlorene Paradies. Exh. cat., Staatsgalerie Stuttgart. Stuttgart, 1997, pp. 22–23, 33–34, no. 33, ill. (color), dates it 1796; discusses contrasting views of the Night-Hag's character, noting that Milton views her as harmless, while popular folklore portrays her as dangerous, particularly at the time of the new moon.

Luisa Calè. "'Lapland Orgies: The Hell Hounds Round Sin'—réécriture et invention dans la galerie miltonienne de J. H. Füssli." Dénouement des Lumières et invention romantique: actes du Colloque de Genève, 24–25 novembre 2000. Ed. Giovanni Bardazzi and Alain Grosrichard. Geneva, 2003, pp. 231–46, ill.

Martin Myrone. Gothic Nightmares: Fuseli, Blake, and the Romantic Imagination. Exh. cat., Tate Britain. London, 2006, pp. 140–41, no. 91, ill. (color).

Luisa Calè. Fuseli's Milton Gallery: "Turning Readers into Spectators". Oxford, 2006, pp. 85–86, 157, 162–71, fig. 7, calls it "Lapland Orgies," maintaining that this is the more appropriate title.

This picture was originally exhibited in 1799 in Fuseli's so-called Milton Gallery under the title "Lapland Orgies". It illustrates a simile in Paradise Lost (II:662–66) comparing the hounds of Hell surrounding Sin to those who "follow the Night-Hag, when call'd / In secret, riding through the Air she comes / Lur'd with the smell of infant blood, to dance / With Lapland Witches, while the labouring Moon / Eclipses at thir charms." Night-Hag is an epithet of the Greek goddess Hecate, who was identified with the moon and was regarded as presiding over witchcraft and magical rites. She was believed to ride the air by night, and was also associated with nightmares.

The Milton Gallery was Fuseli's attempt to rival John Boydell's Shakespeare Gallery, opened in 1789, and Thomas Macklin's Poets Gallery, opened in 1788.
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