140 THE POST AND THE PADDOCK. 



much more with his thumb than his brush. The 

 Margravine of Anspach was one of his first patrons, 

 as were also Mr. Thornhill and Lord Sondes, at 

 whose house he made long visits. His early style 

 was entirely original ; he painted mostly for effect, 

 with wonderful feeling for light and shade, which 

 with his brilliant colouring, brought him hosts of 

 admirers. The treatment of his subjects was quite 

 Cuyp-like in its breadth ; while his feeling for aerial 

 perspective gave immense power to his groups. 

 Latterly his style became careless and coarse, and 

 his once-brilliant colouring degenerated into vul- 

 garity. Although for many years it was the fashion 

 to have every great winner painted by him, it was his 

 figures rather than his horses which made his racing 

 pictures so life-like and attractive. Still, in this 

 point Harry Hall has quite equalled, if not beaten 

 him ; and we know of nothing of Marshall's which 

 can bear comparison with the study of Nat and his 

 pony in Lord Clifden's picture of Surplice, or of 

 Harry Stebbings leading Knight of St. George to the 

 St. Leger post. Even when he put forth his greatest 

 powers, his horse-drawing was rather that of a well- 

 taught man than a lover of the four-legged subject ; 

 and in his picture of the match between Sir Joshua 

 and Filho da Puta, the portrait of the latter (who 

 was trained, as a writer of the period [1817] observes, 

 "by a very civil and apparently deserving young 

 man of the name of John Scott") hardly gives one a 

 worthy idea of the magnificent sixteen- and-a-half- 

 hand son of Haphazard. He quitted Newmarket 

 in 1832, and died in London two years after- 

 wards; and his most enduring monument is to be 

 found in the long series of engravings from his 

 works which embellished the pages of the Old 

 Sporting Magazine. 



In the course of the autumn of " SALT'S " Derby 

 year, Mr. ThornhilFs horses left Perren's, and were 



