Meissonier, his life and his art . PENCIL SKETCH. 76 MEISSONIER troubled themselves little with the observance of realities in thisconnection. The same may be said of Delacroix. He has brilliantinspirations, but the ideal is always ORDERS—ENTRANCE TO THE AUBEV OF roISSV.(M. Thi^rys collection.) THE MASTER—THE MAN 77 Meissonier was the first who succeeded in making a scientific know-iedo-e of anatomy subserve picturesque sentiment in the treatment ofhorses. He was aware that the ancients, and more especially theAssyrians, knew the true movements of the horse. But he believed hehimse
Meissonier, his life and his art . PENCIL SKETCH. 76 MEISSONIER troubled themselves little with the observance of realities in thisconnection. The same may be said of Delacroix. He has brilliantinspirations, but the ideal is always ORDERS—ENTRANCE TO THE AUBEV OF roISSV.(M. Thi^rys collection.) THE MASTER—THE MAN 77 Meissonier was the first who succeeded in making a scientific know-iedo-e of anatomy subserve picturesque sentiment in the treatment ofhorses. He was aware that the ancients, and more especially theAssyrians, knew the true movements of the horse. But he believed hehimself had been the first to revive this knowledge. The moderns, eventhe most skilful among them, had only produced conventional renderingsof horses, according to him ; and these arbitrary types had become sofirmly established in the tradition of painting, the public believed inthem so thoroughly, that it had cost him years of persevering struggleto win acceptance for the truth. He was always on the look out forany works that could add to his knowledge. No naturalist, astronomer,or physician was ever more eager for the results of research than he. In 1S79 a journal called La Nature published some studies of horsesin motion, reproduced,
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