then as now, fine art was a sealed book to the young student. It is difficult to fancy what Shelley might have been under different early influences, and whether perchance the gain to himself might not have been a loss to the world. Fortunately, Shelley's love of imagination found at last a field of poetry for itself, and an ideal future for the world instead of turning to ruffianism, high or low, which the neglect of the legitimate outlet for imagination so frequently induces. How little this moral truth seems to be considered in a country like ours, where art is quite overlooked in the system of government, and where the hereditary owners of hoarded wealth rest content, as a rule, with the canvases acquired by some ancestor on a grand tour at a date when Puritan England had already obliterated perception; so that frequently a few chefs d'œuvre and many daubs are hung indiscriminately together, giving equal pleasure or distaste for art. This is apposite to dwell on as showing the want of this influence on Shelley and his surroundings. From a tour in Italy made by Shelley's own father the chief acquisition is said to have been a very bad picture of Vesuvius.
It is becoming difficult to realise at present, when flogging is scarcely permitted in schools, what the sufferings of a boy like Shelley must have been; sent to school by his father with the admonition to his master not to spare the rod, and where the masters left the boy, who was undoubtedly unlike his companions, to treatment of a kind from which one case of death at least has resulted quite recently in our own time. Such proceedings which might have made a tyrant or a slave of Shelley succeeded only in making a rebel; his inquiring mind was not to be
