WORKS OF SOME PAINTERS. I 27 



pulls it violently by the ear and bridle, whilst a negro 

 endeavours to put a saddle on its back. The animal has 

 but one foot which really rests on the ground ; this is not 

 a walk for the members are at the gait of a trot ; with 

 this development it would forcibly carry off the rider 

 endeavouring to drag it. The pose is especially false, 

 because of the effort made by the master to excite a 

 movement already too active ; to portray the elongated 

 step it would be necessary, whilst altering the drawing 

 but very slightly, to cause the left fore member and the 

 right hind leg diagonally opposed to set down, as shown 

 in the rectification at the side (left diagonal base). 



In the Labotirage nivernais of Madame Rosa 

 Bonheur, the first ox a, who appears to be drawing 

 energetically has not the members placed for the 

 accomplishment of the effort indicated by the forward 

 inclination of the head and neck ; the left diagonal base 

 should be nearer to produce the effect. If it be desirable 

 to leave the hind-quarters of the animal as drawn, it must 

 be modified as in b, after the picture by Leopold Roberts 



(%. 50). 



In the exhibition of 1872, M. Isidore Bonheur 

 exhibited a Roman cow in bronze, perfectly at a walking 

 gait. A fore foot had just left its tract to the hind foot 

 of the same side, this latter, posed at equal distance from 

 the two lateral supports, commenced the diagonal appui, 

 which, with the fore member, will make the base upon 

 which the animal will progress, so soon as the hind foot 

 still adherent to the ground has operated its raising up. 



The ox a must choose between b and c, which are 

 the only appziis of locomotion ; the second ox of the 

 Labourage nivernais, d to be exact, would require to have 

 its members placed like those of which the sketch is 

 given at e, from a picture by M. O. de Penne, represent- 

 ing a perfectly exact team. 



The ox F is at a trot for ploughing, it should be 

 placed as in g for the accomplishment of this slow labour 



(fig. 50). 



It is long since Meissonier first ventured to draw the 

 horse with calm and just movements, to which the eye 

 was not accustomed, I give, as example, the sketch of 

 Napoleon from the remarkable picture of the Retreat of 



