208 ROAD, TRACK, AND STABLE. 
this point are just, and the typical thoroughbred 
especially the typical English thoroughbred, is the 
nervous, irritable, inartistic animal that he describes. 
The cart horse, on the other hand, is a common 
and appropriate figure in painting. 
Among the minor pictures by Turner in the Na- 
tional Gallery at London, not the least interesting is 
one which represents a stout gray farm or cart horse, 
taking his ease in the stable, and eating hay from a 
well filled rack above his head. He stands in a wide 
stall, heaped with yellow straw and flooded with sun- 
shine, so that the scene is one of equine pleasure 
and repose, delightful to the human eye on that ac- 
count, as well as for its harmonious and beautiful 
coloring. 
There is another homespun sight which English 
artists never tire of representing. It is that of a 
string of farm horses, whose day’s work is finished, 
at nightfall. With the harness still upon their backs, 
they have been ridden or led to drink at a cool, elm- 
shaded stream, where they stand, fetlock deep, some 
slowly and luxuriously slaking their thirst, while 
others gaze idly about, their heads half raised above 
the surface of the water. This is one of those fa- 
miliar though foreign sights, as to which an agreeable 
confusion is apt to arise in the mind of an American; 
for he does not always clearly remember whether he 
has seen them in reality or in a picture, or read 
about them in a novel, the truth often being that 
his knowledge has been derived in each of these 
ways. Of all equine pictures, none, I suppose, is 
better known than Rosa Bonheur’s Horse Fair. Her 
noble Percherons, drawn with fond fidelity, are per- 
