WORKS OF SOME PAINTERS. 



119 



for painting in 1782, which caused him to take up his 

 residence in Rome, where he was only partially satisfied 

 with the manner in which the old masters treated animals, 

 with one conventional model. Vernet made an energetic 

 reaction against this heavy and thick horse, which was 

 also sanctioned in France by Lebrun, Van der Meulen 

 and Casanova, who always drew horses over-burdened 

 with flesh. Vernet intentionally departed from old 

 traditions, always allowing himself to be dragged into the 

 delineation of a horse of elegant formation, but often lanky, 

 supported by long and slender members. 



In all his works, his horses are invariably at a trot 

 when representing a walk. These horses kick in leaping 



fe Pi'afFer 

 ofrii Parrocel. 



Fig. 44. 



obstacles, vigorously indicating the divergence of the four 

 members ; all, when galloping, hold the toes of the 

 posterior members fixed to the ground (see fig. 14) ; he is 

 also to be rebuked for having given too long legs to his 

 riders, which considerably reduces the capacities of the 

 thorax of their horses already emaciated by a rather 

 accentuated muscular plexus. 



The Rider by Parrocel, of which we here give a copy, 

 presents this disproportion of the man with reference to 

 his horse, his leg exceeding the stomach by more than 



