Artistic Anatomy of Animals Part 35

=The Head, Front View= (Fig. 110).--If, to continue our examination, adds M. Duhousset, we regard the head from the front, we find its greatest width at A, B, the extreme points of the orbital arches.

This width is 22 centimetres.

It is again equal to:

A, C, from one arch to the nape;

A, D, from one arch to the middle of the face.

D, E, from the middle of the face to the margin of the lips.

From the auditory ca.n.a.l, G, to the maxillary spine, F, is the same distance as from this point to the margins of the lips, E, or, better, to the end of the teeth.

[Ill.u.s.tration: FIG. 111.--THE SAME FIGURE AS FIG. 110, ON WHICH WE HAVE MARKED BY SIMILAR LINES THE PRINc.i.p.aL MEASUREMENTS WHICH CORRESPOND THERETO.

Distance which separates one of the orbital arches from that of the opposite side, and the dimensions which equal it; distance which separates the auditory meatus from the maxillary spine, and the dimensions which equal it; distance which separates one maxillary spine from that of the opposite side, and the dimensions which equal it; distance which separates the lip of one side from that of the opposite, and the dimensions which equal it.[65]]

[65] See the note relative to Fig. 109.

The line G, C, from the auditory meatus to the nape, is equal to the sixth of the head, 10 centimetres; the line A, G, from the orbital arch to the auditory meatus, is a little longer, and measures 12 centimetres.

The distance F, I, comprised between the maxillary spines, is 18 centimetres.

It is equal to:

O, O, the distance between the internal angles of the eyes (G. and B.);

F, R, the distance from the maxillary spine to the superior commissure of the corresponding nostril (G. and. B.);

F, P, from the maxillary spine to the _salt-cellar_.[66]

[66] We designate under the name _salt-cellar_ a depression situated external to the frontal region and above the eye.

From the nape to the internal angle of the eye, C, O, is the same distance as from this latter point to the commissure of the lips, O, T; and from the maxillary spine to the upper lip F, S (G. and B.).

The distance apart, T, T, of the two commissures of the lips gives, very nearly, the distance from the superior border of the orbital arch to the base of the ear or the auditory meatus. In the state of rest, the outer limit of the separation of the nostrils does not exceed the width of the knee;[67] we frequently find the same distance intercepted above the nape by the tranquil ears. In the figure (Fig. 110) we have intentionally represented them directed in a different plane, in order to show that when the pinna is turned backward, it none the less preserves the contour of bracket form, more or less p.r.o.nounced according to the breeding of the subject, and characterizing in repose the interior curves of the ear.

[67] We remind our readers that the name 'knee' is given by veterinarians to the region occupied by the carpus.

The extreme limit of the lips, M, N, but very slightly exceeds that of the nostrils; on many heads of harmonious proportions this distance is found to be the half of A, B.

In order not to interrupt the course of the preceding exposition, we decided to withhold till afterwards some reflections which have been suggested to us by certain of the proportions which are there indicated.

The proportions in question are important--we may even say that they are fundamental, for they have for object the relation which exists between the length of the head, the height of the body, and the length of the latter.

We have already seen that, according to Bourgelat, the length of the head is contained two and a half times in the length of the body, from the point of the arm to the point of the b.u.t.tock; and, also, two and a half times in the height measured from the apex of the withers to the ground (see p. 265). We saw afterwards that M. Duhousset, having adopted these proportions, pointed out, further, that the same dimension was again found equally to exist from the summit of the crupper to the ground--a height which Bourgelat considered as being of less extent.

There results, then, from the latter proportions, which we have just recalled, this interesting fact: that they simplify very much, from the point of view of design, the placing in position of the horse, on the condition always that this latter be always viewed directly on one of its lateral aspects.

[Ill.u.s.tration: FIG. 112.--HORSE OF WHICH THE LENGTH CONTAINS MORE THAN TWO AND A HALF TIMES THAT OF THE HEAD, AND OF WHICH THIS DIMENSION (A, B) EXCEEDS THE HEIGHT.]

Indeed, in this case, if we except the neck and the head, the body, inasmuch as its height and its length are equal, may be inscribed in a square, of which one of the sides corresponds to the withers and to the summit of the crupper, two of the other sides to the point of the arm and to that of the b.u.t.tock the fourth being represented by the ground.

This is simple, but this simplicity even has its inconveniences.

It follows that this proportion, thus expressed, seems to exclude from every artistic representation certain categories of horses, which upon the whole might be regarded as beautiful, and the existence of which in any case it would be a pity not to indicate.

[Ill.u.s.tration: FIG. 113.--HORSE OF WHICH THE LENGTH CONTAINS MORE THAN TWO AND A HALF TIMES THAT OF THE HEAD, AND OF WHICH THIS DIMENSION (A, B) EXCEEDS THE HEIGHT.]

Let us examine at the outset that which is relative to the length of the body, equal to two and a half times the length of the head. This proportion is sometimes met with, and therefore may be considered exact; but it is necessary to add that its existence is not discoverable in the majority of cases. That for some authors it const.i.tutes a perfect model we will not gainsay, but it is our impression that, when it exists, the head appears a little large, or, more exactly, the body a little short.

Without attaining exactly to three times the length of the head, as some authors (Saint-Bel, Vallon) have announced, the body of the horse, nevertheless, measured as is stated above, frequently contains it more than two and a half times. We give in support of this some outline reproductions, executed after photographs (Figs. 112, 113, 114).

There still remains the question regarding the equality of the height and of the length of the body of the horse.

This equality, after the proportions previously indicated, would seem bound to appear in all the cases observed. Now, if we measure the examples reproduced in Figs. 112, 113, and 114, we shall see that sometimes the two dimensions are unequal, the height being greater than the length, or inversely.

[Ill.u.s.tration: FIG. 114.--HORSE OF WHICH THE LENGTH CONTAINS MORE THAN TWO AND A HALF TIMES THAT OF THE HEAD, AND OF WHICH THIS DIMENSION (A, B) IS INFERIOR TO THE HEIGHT.]

It is the same, if we examine a certain number of specimens; we are able to determine that the proportion chosen in preference by authors is not exactly that which is oftenest met with. It will, very probably, be objected that it is so for the most beautiful types, and that the indifferent ones are generally the more numerous. The essential thing would be to know, above all, if the type of two heads and a half of length and of height is really the only beautiful one. However that may be, of the fifty African horses measured by M. Duhousset, only fourteen possessed the equality indicated; twenty-six were less long than high, and ten more long than high.[68]

[68] E. Duhousset, 'The Horse,' Paris, 1881.

CHAPTER V

THE PACES OF THE HORSE

As a completion of the studies we have just been making, some notions relative to the paces of the horse seem to us to be absolutely indicated.

Let it be permitted to us to remind the reader in this connection that we have already been for twenty-one years occupied with this question, and that by means of an articulated figure, a sort of movable mannikin, we have endeavoured to demonstrate to artists the differences which characterize the various paces of the horse.[69] The arrangement then employed cannot, evidently, be used in the present volume, but we will inspire ourselves, in the preparation of the present chapter, with the elements of demonstration which we have employed, and which, in the course of our teaching, we have had the satisfaction of seeing favourably received.

[69] edouard Cuyer, 'Les Allures du Cheval,' demonstrated with the aid of a coloured, separable, and articulated table, Paris, 1883.

This table was the subject of a note communicated to the Academy of Sciences by Professor Marey ('Comptes rendus de l'Academie de Sciences') at the meeting of June 26, 1882. On the other hand, it has been the subject of a presentation which we have had the honour of being permitted to make to the Academy of Fine Arts at the meeting of November 4, 1882.

The fasciculus in question has been since united with a more complete whole as regards the study of the horse. E. Cuyer and E.

Alex, 'Le Cheval: Exterieur, Structure et Fonctions, Races,' avec 26 planches coloriees, decoupees et superposees, Paris, 1886.

The progressive movements by which an individual transports himself from one place to another do not operate according to a unique method and with a constantly uniform velocity. These various modes of progression are designated under the name of _paces_.

It is extremely difficult to a.n.a.lyze, by simple observation, the movements which characterize these gaits. Let us, for example, examine the displacements made by the limbs of a horse during that of walking; if we have no notion of these displacements, it will be, so to speak, impossible to determine in what order they are executed. The sight of the imprints left on the ground by the hoofs is not a sufficient means of demonstration, especially for artists. The noise made by the blows of these limbs, or by the little bells of different timbre suspended from them, are absolutely in the same case.

Processes enabling us to fix or to register the paces are in every way preferable. Such really exist; they are: instantaneous photography and those which const.i.tute the graphic method of Professor Marey. The results given by the photograph are certainly appreciable; but, from the didactic point of view, we give the preference to the graphic method, the general characters and the mode of application of which we now proceed to a.n.a.lyze.[70]

[70] We cannot too strongly recommend the reading of the excellent works which Professor Marey has published, and which have for their object the study of movements, as well as the exhibition of the procedures which he has employed. E. J. Marey, 'La Machine Animale,' Paris, 1873; 'La Methode graphique dans les Sciences experimentales,' Paris, 1884; 'Le Vol des Oiseaux,' Paris, 1890; 'Le Mouvement,' Paris, 1894.

It is necessary to understand first of all, in this connection, that which relates to a man's walking pace.