From what has been said of the facial show of the little fellow, who used to play in the Field Place gardens, and ride his Shetland pony about the Warnham lanes, in the closing years of the last, and the opening summers of the present century, it follows that the picture published by Mr. Colnaghi, in 1879, as a veritable portraiture of Shelley in his childhood, is an unauthentic and delusive performance. An exquisite example of childish beauty, the little boy of Mr. Colnaghi's engraving has a straight, finely-pointed nose, and a face of faultless symmetry; a nose that could not have developed into the distinctly tip-tilted nose of the poet's later visage; a face, that could not have departed so far from its normal mould, as in later time to bear any resemblance to the poet's countenance, which is represented by all the several persons of his familiar acquaintance, who wrote about it, as having been no less wanting in symmetry than fortunate in the charms of expressiveness. Whilst declaring the singular comeliness of the poet's face in its happier moments, Hogg records that its 'features were not symmetrical.' Medwin, ever quick to glorify his cousin, admits that his features were 'not _regularly_ handsome.' Though she busied herself to impose upon the world the picture of a beautifully symmetrical face as Shelley's veritable semblance, and was even more accountable than Mrs. Shelley for the prevailing misconceptions respecting his facial aspect, Mrs. Hogg (the Mrs. Williams of Shelleyan annals) admitted to Mr. Rossetti, in Trelawny's presence, on March 13, 1872, that the poet 'could not be called handsome or beautiful, though the character of his face was so remarkable for ideality and expression;' the lady, at the same time, confirming what Hogg and Peacock tell us of the unmusical character of the poet's voice. In the opinion of the lady, whose singing was unutterably sweet to her spiritual worshiper, Shelley's 'voice was decidedly disagreeable.' On seeing the familiar pictures of Shelley, that serve as the frontispieces in Hogg's _Life_, and Trelawny's _Recollections_, Peacock declined to regard them as likenesses of his former friend; putting them aside not merely as ineffective and unsatisfactory likenesses, but as no likenesses whatever of the individual they professed to represent. 'The portraits,' he remarked in _Fraser_, 'do not impress themselves on me as likenesses; they seem to me to want the true outline of Shelley's features, above all, to want their true expression.' How could he honestly speak otherwise of the spurious and delusive portraits, 'in which' (to repeat his own words) 'the nose has no turn-up?' That Shelley had a small and distinctly tip-tilted nose, instead of the straight and rather large (though delicately moulded) nose of the lying pictures, appears from words penned by himself to Peacock, from Leghorn, in August, 1819. After speaking derisively of John