314 



THE PAINTER'S HORSE. 



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 versL 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 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 



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Fig 4oi-Meissonier's"i8i4" 



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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 instance) 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, in the Royal Academy or Salon, 

 a picture representing a horse running away with a carriage, 



