712 



THE PAINTER'S HORSE. 



in all four together at the same moment. Hence, when 

 critically regarding the action in either of these two paces, 

 we generally content ourselves with studying that of the 

 fore pair, and, subsequently, that of the hind pair ; or 

 vice versa. In such a case, therefore, whichever pair be 

 focussed sharply on the retinae of our eyes, the other pair 

 will of necessity be blurred. Consequently, if both pairs 



\'iA^. 



651. — Meissonier's " 1S14.' 



of limbs be depicted sharply in the canter or gallop, the 

 chances are that the idea of motion will not be conveyed to 

 the spectator. For this reason, the painter who is trying 

 to give the " feeling " of motion to a horse he is drawing 

 at either of these paces, will do well to blur (by means of 

 dust, snow, etc.) or to hide (by a bush or grass, for in- 

 stance) one pair, if he desires to make the other pair sharp. 

 I can see no error of technique in giving indistinctness of 

 outline to the limbs themselves. A painter who exhibited 



