巴里和富塞利的精神常驻人间。
1782年，富塞利首次展出《梦魇》一作，每天观摩者创纪录地达到3000人。
In 1782 Fuseli exhibited "the Nightmare" for the first time, drawing record crowds of up to 3,000 people a day.
当过传教士后来被迫离开祖国瑞士的富塞利跟巴里不一样，他较为理智地看待伦敦艺术境况。
Unlike Barry, Fuseli-a former preacher who was forced to leave his native Zurich-looked rationally at the London art scene.
巴里和富塞利这两个名字算不上家喻户晓，实际上自维多利亚时代以来，世人对他们已经不闻不问。
Barry and Fuseli are hardly household names; indeed since Victorian times they have been virtually ignored.
不过，在18世纪晚期，富塞利曾经是早期皇家美术学院(A)杰出会员和颇具影响力的画师，巴里曾一度也是如此。
But in the late18 th century, Fuseli, and for a short time Barry also, were prominent members of the young Royal Academy of Arts (RA) and influential professors of painting there.
克里斯托弗爵士认为，富塞利的这幅画以及取材于密尔顿和莎士比亚作品的那些画作，乃是探寻18世纪民族神话的一部分。
Sir Christopher sees this painting, together with Fuseli's scenes from Milton and Shakespeare, as part of a search for national myths in the late 18th century.
不过，在18世纪晚期，富塞利曾经是早期皇家美术学院(RA)的杰出会员和颇具影响力的画师，巴里曾一度也是如此。
But in the late 18th century, Fuseli, and for a short time Barry also, were prominent members of the young Royal Academy of Arts (RA) and influential professors of painting there.
比如：瑞士出生的艺术家亨利·富塞利（HenryFuseli）就描绘了麦克白第一次在荒野上见到三女巫的几个著名场景。
The Swiss-born artist Henry Fuseli, for instance, made several versions of the famous moment when Macbeth meets the three witches for the first time on the heath.
比如：瑞士出生的艺术家亨利·富塞利（HenryFuseli）就描绘了麦克白第一次在荒野上见到三女巫的几个著名场景。
The Swiss-born artist Henry Fuseli, for instance, made several versions of the famous moment when Macbeth meets the three witches for the first time on the heath.
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