Next, glance at the figure opposite. This is a reproduction of “the earliest representation of the Bust” (and monument) in Dugdale’s _Antiquities of Warwickshire_ (1656). Compare the two objects, point by point, from the potato on top with holes in it, of Dugdale, which is meant for a skull, through all the details,—bust and all. Does Dugdale’s print, whether engraved by Hollar or not, represent a Jacobean work? Look at the two ludicrous children, their legs dangling in air; at the lions’ heads above the capitals of the pillars; at the lettering of the two visible words of the inscription, and at the gloomy hypochondriac or lunatic, clasping a cushion to his abdomen. That hideous design was not executed by an artist who “had his eye on the object,” if the object were a Jacobean monument: while the actual monument was fashioned in no period of art but the Jacobean. From Digges’ rhymes in the Folio of 1623, we know that Shakespeare already had his “Stratford monument.” _The existing object is what he had_; the monument in Dugdale is what, I hope, no architect of 1616–23 could have imagined or designed. [Picture: The Monument in Dugdale’s “History of the Antiquities of Warwickshire” (1656) (By permission of John Murray, Esq.)] Dugdale’s engraving is not a correct copy of any genuine Jacobean work of art. Is Dugdale accurate in his reproductions of other monuments in Stratford Church? To satisfy himself on this point, Sir George Trevelyan, as he wrote to me (June 13, 1912), “made a sketch of the Carew Renaissance monument in Stratford Church, and found that the discrepancies between the original tomb and the representation in Dugdale’s _Warwickshire_ are far and away greater than in the monument to William Shakespeare.” Mr. Greenwood, {179a} while justly observing that “the little sitting figures . . . are placed as no monumental sculptor would place them,” “on the whole sees no reason at all why we should doubt the substantial accuracy of Dugdale’s figure . . . It is impossible to suppose that Hollar would have drawn and that Dugdale would have published a mere travesty of the Stratford Monument.” I do not know who drew the design, but a travesty of Jacobean work it is in every detail of the monument. A travesty is what Dugdale gives as a representation of the Carew monument. Mr. Greenwood, elsewhere, repeating his criticism of the impossible figures of children, says: “This is certainly mere matter of detail, and, in the absence of other evidence, would give us no warrant for doubting the substantial accuracy of Dugdale’s presentment of the ‘Shakespeare’ bust.” {180a}