THE ENGLISH KACE HORSE. 77 



picture gallery, about the first object upon which my eye rested 

 was the painting of the Godolphin Arabian, and the first impres- 

 sion was that there must be "spooks" around, for that seemed 

 certainly the Maryland picture I was looking at. I had it taken 

 down and removed to a good light, and there the whole mystery 

 was removed. It is difficult to compare two peas. All you can 

 say about them is that they were just alike, and that is all I can 

 say about the Galloway picture in Maryland and the Houghton 

 Hall picture in England. The paintings were the same size, and 

 the pigments used were of precisely the same shades of color and 

 quality. The colors were peculiar in the fact that the artist had 

 used no varnish nor oil that would leave a shiny appearance. 

 The Houghton Hall picture had a black, glossy margin all around 

 it of about five inches in width on which the names of the most 

 noted of his progeny were inscribed in gold letters, and at the 

 bottom was this inscription: "The original picture taken at The 

 Hills, by D. Murrier, painter to H. K. H. the Duke of Cumber- 

 land." This explained the modest signature attached to the 

 Maryland picture, which was a replica of the original. "The 

 Hills" is the local designation of "Gog Magog Hills." The word 

 "original" not only implies that the picture was made from life, 

 but that one or more replicas were made at the same time. 



Here, then, in this picture, we have all that we know or proba- 

 bly ever will know of the origin and pedigree of this horse. It 

 does not tell us what he was, but it does tell us in the most clear 

 and unmistakable language what he was not. There is no feature 

 nor element in his make-up that does not say that he was neither 

 an Arabian nor a Barb. He was a stout, strong-boned, heavily 

 muscled, short-legged horse. In his form and shape he was very 

 far removed from an ideal progenitor of race horses, but he was 

 that progenitor all the same. About forty years after his death 

 Mr. Stubbs, who never saw the horse, brought out a painting of 

 him which all artists laughed at as the picture of an impossible 

 horse. This picture, however, was engraved on steel and became 

 the standard representation of Godolphin Arabian, in England, 

 till this day. Both these pictures are here given, and a com- 

 parison of many points makes it evident that Stubbs copied from 

 the original of Murrier or from the painting by Wootton, which 

 was probably also a copy of Murrier, and he followed his copy 

 just as closely as he could while converting a big-boned, stout 

 saddle horse into a long-necked, spindle-shanked race horse. 



