FOXHOUNDS 205 



ago there was a certain amount of crossing the blood of 

 one kennel with that of another. What the Stud Book 

 cannot tell is from which kennel came the excess of 

 drive, the tongue, the bone, the straightness, or any 

 of the really strong points of the modern foxhound. 

 These qualities have, as a matter of course, been 

 enormously developed by the great breeders of the last 

 half-century, but historians of foxhunting have given 

 but scant information as to what were the strongest 

 points in the various early packs, and it is no easy 

 matter to form a very strong opinion on what can be 

 gathered from old pictures or prints, chiefly because 

 in forty-nine out of fifty the hound was subordinate 

 to the horse and his rider. 



Possibly the well-known picture of the "Earl of 

 Darlington and His Foxhounds," painted by Mar- 

 shall in 1810, gives one a pretty good idea of the 

 foxhound of almost a hundred years ago, and of the 

 three and a half couples which are included not one 

 appears to be in the least deficient in bone. But it 

 should be mentioned that there is a second well-known 

 (through the prints) picture of the Raby pack in kennel 

 at feeding time. The painter of this picture was H. B. 

 Chalon, who described himself as animal painter to 

 the Prince Regent and other members of the Royal 

 Family (and the prints are dated 1814), and all the 

 hounds in the painting were portraits, their names 

 being Craftsman, Benedict, Merryman, Baronet, Ma- 

 homet, Modish, Symphony, Maynard, and Governess 

 — and Jasper, the terrier, a dark-coloured, smooth- 

 coated, prick-eared, and very verminty dog, but whose 

 breed it would be difficult to name in these days. 



Now in Marshall's picture hounds are clustered 

 round their owner, who is on horseback, and pre- 



