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224 in its most majestic forms, does not give or imply love of art. The feeling for plastic art requires the emotion which runs through all art, and without which it is nothing, to be distinctly innate as in the artist, or to have been cultivated by surroundings and influence. True, it is apparently difficult always to trace the influence. There is no one step from the contemplation of the Alps to the knowledge of plastic art. Literary art does not necessarily understand pictorial art: it may profess to expound the latter, and the reader, equally or still more ignorant, fancies that he appreciates the pictorial art because he relishes its literary exposition. Surely a piece of true plastic art, constantly before a child for it to learn to love, would do more than much after study. The best of all ought to be given to children music, poetry, art for it is easier then to instil than later to eradicate. It is true these remarks may seem unnecessary with regard to Mary Shelley, as, with all her real gifts and insight into poetry, she is most modest about her deficiencies in art knowledge, and is even apologetic concerning the remarks made in her letters, and for this her truth of nature is to be commended. In music, also, she seems more really moved by her own emotional nature than purely by the music; how, otherwise, should she have been disappointed at hearing Masaniello, while admiring German music, when Auber's grand opera has had the highest admiration from the chief German musicians? But she had not been previously moved towards it; that is the great difference between perception and acquired knowledge, and why so frequently the art of literature is mistaken for perception. But Mary used her powers justly, and drew the line where she was conscious of knowledge; she had real imagina-