THE PAINTER'S HORSE. 



711 



graphy proves that the walk (Figs. 99 and 653), trot (Figs. 

 81 and 654), amble (Fig. 98), canter (Fig. 148), gallop 

 (Fig- 655), and leap (Figs. 247, 248, 251 and 658) can 

 be drawn artistically and truthfully at the same time. 

 A combination of these two conditions is harder to find in 

 the canter, and especially in the gallop, than in the other 

 movements. The difficulty, here, hes in the nature of the 



Fig. 650. — Meissonier's Napoleon i'=''. 



action rather than in the speed of the pace ; for the eye 

 can, for instance, follow the order in which the Hmbs work 

 far more easily in the fastest trot or amble than in the 

 slowest walk. Here we come to the noteworthy fact 

 that the eye will seldom recognise as true in Art, what it 

 has not actually seen in Nature. The distance from which 

 we usually look at the movements of a horse's legs in the 

 canter or gaUop, is usually too close to permit us to take 



