drawback to him at school where time on his hands was, for lack of
better material, frequently spent in reading all the foolish romances
he could lay hold of in the neighbouring book-shops. His own early
romances showed the influence of this bad literature. Of course, 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'oeuvre_ 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