Notes and Sketches on the Anatomy of the Horse, Vol. 2

ment in use during the era of Leonardo da Vinci; some sketches represent, however, the hindquarters still holding to the ground, with the feet nearly ready to detach and at an acute angle, formed by the legs leaning far forward, like Assyrian horses A reference to the stylized, powerful horses depicted in ancient Mesopotamian stone reliefs., while the forelimbs of the same animals extend themselves, both stretched out in parallel, maintaining the body in a horizontal position.

Of the following leaves, from 26 to 31, the principal one is number 28. This drawing, representing a horse completely in profile, is, in our opinion, of the highest importance. Despite the difficulty of connecting with the interest of the limits indicated by the measurements, one will understand the full value of the indices which specify the true points, scientifically established by long and constant observation.

In summary, this drawing made more than four centuries ago, with the markers that the letter T (Testa) Italian for "Head." explains clearly, indicates to us, through experience, that the length of the head can constitute the unit of measurement for the proportions of the horse. In 1770, Bourgelat, having no knowledge of the works of Leonardo da Vinci, justified this assessment.

For about a century, the study of proportions remained in a stationary state which did not much exceed the limits of a concession that was more scientifically admissible than it was part of the domain of practical ideas.

This lasted until the moment when the accuracy of the photographic process came to affirm the truth, even beyond our visual perception, and especially beyond the routine to which artistic sentiment sacrificed for so long.

It is easy, currently, to demonstrate that the principal proportions of a horse, Fitz-Gladiator A famous 19th-century Thoroughbred stallion, used here as a modern anatomical benchmark., for example, of which we have made