abrupt, and sometimes violent, occasionally even awkward, yet more
frequently gentle and graceful. His complexion was delicate and almost
feminine, of the purest red and white; yet he was tanned and freckled by
exposure to the sun, having passed the autumn, as he said, in shooting.
His features, his whole face, and particularly his head, were, in fact,
unusually small; yet the last APPEARED of a remarkable bulk, for his
hair was long and bushy, and in fits of absence, and in the agonies (if
I may use the word) of anxious thought, he often rubbed it fiercely with
his hands, or passed his fingers quickly through his locks
unconsciously, so that it was singularly wild and rough. In times when
it was the mode to imitate stage-coachmen as closely as possible in
costume, and when the hair was invariably cropped, like that of our
soldiers, this eccentricity was very striking. His features were not
symmetrical (the mouth, perhaps, excepted), yet was the effect of the
whole extremely powerful. They breathed an animation, a fire, an
enthusiasm, a vivid and preternatural intelligence, that I never met
with in any other countenance. Nor was the moral expression less
beautiful than the intellectual; for there was a softness, a delicacy, a
gentleness, and especially (though this will surprise many) that air of
profound religious veneration, that characterizes the best works, and
chiefly the frescoes (and into these they infused their whole souls), of
the great masters of Florence and of Rome. I recognized the very
peculiar expression in these wonderful productions long afterwards, and
with a satisfaction mingled with much sorrow, for it was after the
decease of him in whose countenance I had first observed it."

In another place Hogg gives some details which complete the impression
of Shelley's personal appearance, and which are fully corroborated by
Trelawny's recollections of a later date. "There were many striking
contrasts in the character and behaviour of Shelley, and one of the most