102 Essay upon iht Art if the Tovndry 



to the proper distance wanted for the thickness of the mctaT. 

 INJanv oi'lhc^eplucs would he necessary as supports, in order 

 to kee;; tlM- mould steady, and hinder the nucleus from 

 leavintj \\» place. This being done, they added the mould* 

 of the feet; when the whole was fired, and the founding pro- 

 ceeded in. 'Jlie foundinji being finished, these plugs formed 

 so many holes in the niela! ; but they were made use of in 

 diogind; out the mtcleus or core in pieces, by means of sharp- 

 poin'cd irons. Every thing being finished, they filled all the 

 Jloles with plates of copper, haiinTicred and fitted to the 

 opcijiuas ; and riveted by nails as we see in the horses of 

 Chio, and the bronze statues of Uerciilaneum. 



Ii would be rash, however, to maintain that this custom was 

 cencral in all antient works of art ; with respect to more re- 

 cent periods, the observation of M. Bouffefand may apply. 

 The art of founding flourished in the empire of the East. Wc 

 find in Zonarus that they erected to almost all the eniperors 

 of the East bronze statues at Constantinople : and an cpi- 

 "ram * of the poet Juvenal, who was contemporary with 

 Theodosius, proves that wax was employed in the statues of 

 that time. 



Winckelman t complains much of the manner hi which 

 the horses of Venice raise their feet. He says, " Some peo- 

 ple assert that horses lift the two feet of one side at one and the 

 same time, and such is the gait of the four horses of Venice." 

 It is evident, however, that Winckelman is mistaken ; all 

 the art of Franeoni the equestrian would be incapable of 

 making a horse move in this manner. 



A horse, when at the gallop, raises his two fore feet at 

 once, and follows by the two hind feet, lifting them one af- 

 ter another, which produces three distinct motions. 



A horse, when at a walkii>g pace, moves at four different 

 times, in a diagonal line, or in a cross ; that is to say, after 

 having lifted the right fore foot, he lifts the left hind foot, 

 all which is conformable to the laws of mechanism; and this 

 is the gait of the horses of Venice, and of that of Marcus 

 Aurelius in the Capitol. 



* Antbol. lib. iv. f Liv. v. ch. C, § 16. 



A horsc^ 



