A poignant allegorical painting by Henry Fuseli depicting the soul of Penelope Boothby ascending to the heavens.

Henry Fuseli, a Swiss-born painter active in London, produced this work following the premature death of Penelope Boothby, the daughter of Sir Brooke Boothby. The painting depicts the child being carried heavenward by a winged figure, a common allegorical device in late eighteenth-century funerary art to represent the soul's transition to the afterlife. Fuseli employs a dramatic, theatrical lighting scheme that is characteristic of his broader body of work. The figures emerge from a dark, atmospheric background, their forms illuminated by a soft, ethereal glow. The composition is vertical and arched, guiding the viewer's eye upward toward the celestial figure above the child. The brushwork is fluid, prioritising the emotional weight of the scene over precise anatomical realism. Penelope Boothby was a well-known figure in the period, having been famously painted by Sir Joshua Reynolds. Fuseli's interpretation moves away from the portraiture style of his contemporaries, opting instead for a mythological treatment of her passing. The inclusion of a butterfly near the bottom of the frame serves as a traditional symbol of the soul. The painting reflects the period's preoccupation with sentimentality and the idealisation of childhood innocence. Fuseli's use of shadow and light creates a sense of movement, as the figures appear to drift through a nebulous, dreamlike space. This work remains a clear example of the artist's ability to blend classical themes with the intense, subjective emotionality that defined the early Romantic movement in Britain.