Launce's unhappy dog, of the Egpytian Sphynx in "Antony and Cleopatra." The model of Shylock was evidently some "old clo'" dealer in Petticoat Lane. The figure of Armado ("Love's Labour's Lost") is so wonderfully put together that his anatomy must sooner or later fall to pieces; the ghost of Hamlet's father is the ghost of some colossal statue, certainly not the shade of one who had worn the guise of ordinary humanity. The head of the gentle Juliet might derive benefit from the application of a bottle of invigorating hair wash. The figure of the monk in "Romeo and Juliet" literally cut out of wood, carries as much expression in its face as a lay figure; while the walls of Northampton Castle (in "King John") are so much out of the perpendicular, that the courtiers seem less concerned at finding the dead body of Arthur, than in seeking a place of shelter from the impending downfall. Henry the Eighth, although acknowledged to be a corpulent, was not, so far as we know, a deformed man; the preposterous "beak" of Richard the Third occupies one half of his otherwise remarkably short face, and its owner (in the well-known tent scene) suffers from an attack of tetanus instead of an accession of mental terror. These eccentric realizations, in which he has succeeded in setting all the rules of drawing at defiance, are rendered the more remarkable by reason of the circumstance that the work now under consideration is interspersed with numerous charming drawings, the effect of which is wholly marred by these erratic performances. Meadows was an admirable watercolour artist, and a scarce edition of this work contains some engravings of Shakespearian heroines after his designs. The Germans fancy they understand Shakespeare better than ourselves (an amiable and complimentary weakness), and the work was favourably received in Germany, the artist's conception of Falstaff, in particular, being so highly appreciated that a bronze statuette was modelled after it, which enjoyed a large sale.
His ideas of female beauty were almost as eccentric as those of Cruikshank. A couple of beauties of the Meadows type will be found at page 3 of Henry Cockton's "Sisters" (Nodes, 1844), where one lady is represented to us with a neck like that of a
