of his feelings made him particularly open to sensuous effects, so that in general he worships the later schools. In painting, especially, he can hardly be considered a safe guide for others, because his praise or censure is largely dependent on his temperament for its justification: a picture which is consonant with his own imagination, and stirs it, is thereby raised and glorified, but one whose theme would have been differently developed by himself is at once made pale by contrast with the quick visions of his own vividly pictorial mind. Here is a portion of his description of a Christ Beatified:—
"The countenance is heavy, as it were, with the rapture of the spirit; the lips parted, but scarcely parted, with the breath of intense but regulated passion; the eyes are calm and benignant; the whole features harmonized in majesty and sweetness."
One cannot but feel that the face which Shelley thus summons up before us bears the same relation to the original as what the dull-minded call his plagiarisms from Lodge do to that poet's lyrics. Shelley often paints the picture over upon the outlines of the old canvas; but this transforming or penetrat-
