BEINGING OUT A SUBJECT. 287 



the two colours, would represent a black horse. By- 

 such means the representation of a black horse 

 certainly could be made, but it would be a very im- 

 perfect one of the richness of a black horse in bloom- 

 in o; condition ; nor would black and white suffice for 

 a grey. I remember once pleasing a very indifferent 

 artist exceedingly who had painted a nearly white 

 horse for a gentleman. The horse was 'perfect as 

 nature had made him, and the artist had taken great 

 care to represent most ostensibly tokens of his being 

 so. He was polite enough to ask my opinion of his 

 performance, on which I most conscientiously assured 

 him it was a most faithful representation both in 

 colour and animation of a stone horse. 



To the late Mr. Benjamin Marshall is due the 

 merit of striking out a something new in his profes- 

 sion. This was first introducing those artificial lights 

 thrown on his horses, that produced a gloss and a 

 look of air that no painter had done before him. 

 He fairly brought his horses, or at least the generality 

 of them, out of the canvass. They were not mere 

 representations of the animal, but little horses standing 

 before us. Nothing shows the force of painting more 

 than the impression it makes on unsophisticated 

 minds. I remember beino; taken to Marshall's when 

 a boy about twelve years of age. Of the merits of a 

 picture I then knew little ; but I quite recollect my 

 perfect astonishment at the pictures I saAV, and that, 

 until I passed m^y hand over the surface of them, I 

 could not be convinced the horses were not absolutely 

 standing in relief from the canvass. We have now 

 the art of representing medals on paper, so as to make 

 us often hesitate in deciding whether they are or are 

 not really standing from the paper. This effect 



