What is offered to the eye by this frontispiece? It is the picture of a man, to judge of it from the coat, the folds of the Byronic shirt-collar, and the absence of the developments of the breast that are such powerful elements of feminine loveliness. It is the picture of a beautiful girl, to judge of it by the girlish face and hair, the girlishness of the long, slender neck. The first thing to strike the beholder of this girl's face is the symmetrical character of its delicate beauty. The symmetry is perfect--too perfect, even for a girl of seventeen. The fine pencillings of the eye-brows, the curves immediately beneath the eyes, the superior contours of the cheeks, the line and shadow-line of the long, straight nose, the outlines of the lower parts of the countenance, the curlings of the small kissable lips and dainty chin, are all finely, unsurpassably symmetrical. If the word may be applied to things so lovely and delicate, symmetry is carried even to caricature in the details of this girlish face. Of course the face, so delicately girlish, is deficient in the strength, the indications of force, active or latent, always to be looked for and, in some degree, invariably discernible in the countenance of a man of mark. Though he never sate to professional painter, Shelley sate to a sculptor of sufficient ability, whose chisel produced a work of art that, indicating with sufficient clearness the two chief defects of the poet's least comely feature, fortunately, still exists, to give the lie to the foolish pictures, and to protest with mute eloquence against the policy of misrepresentation, which pursues its ends with insolent disregard for the rights of the many thousands of persons, who are interested in knowing the truth and the whole truth, and in believing nothing but the truth, about one of the most remarkable Englishmen of the present century.