Photography vs. Art. 6 1 



er's thanks were wont to be expressed. I knew, 

 Patroclus, that in your care the Httle maid was 

 quite as safe as with her doll at home. 



XVIII. 



And now a word about the horse in action, as 

 shown by instantaneous photography, and about 

 the war waged between artists and photographers. 

 Some disciples of Muybridge would fain have the 

 artist depict an animal in an ungainly attitude, 

 because the lens is apt to catch him at a point in 

 his stride which looks ungainly, there being many 

 more such points than handsome ones. It is the 

 moving creature which we admire. The poetry 

 of motion is rarely better seen than in a proudly 

 stepping horse. But arrest that motion and you 

 are apt to have that which the human eye can 

 neither recognize nor delight itself withal. Ar- 

 rested motion rarely suggests the actual motion 

 we aim to depict. The lens will show you every 

 spoke of a rapidly revolving wheel, as if at rest. 

 The eye, or the artist, shows you a blur of motion. 

 And so with other objects. The lens works in the 

 hundredth part of a second ; the eye is slower far. 



To a certain extent photography, quoad art, is 

 wrong and the limner is right. There are some 

 horses which possess a very elegant carriage. In 

 their action there are certain periods — generally 

 those at which one fore and one hind leg are 



