Stories Pictures Tell. Book 5

by Flora L. Carpenter

Imagine yourself in that largest of all show buildings, the Madison Square Garden, New York City. Tier above tier the seats are arranged around the central ring or drive, which in size and appearance is similar to the usual outdoor race track. The seats extend around the track except for a small space left for the entrance and exit, and are arranged very much like the seats in a theater, having the box and reserved seats nearest the stage or track. Each box is numbered and catalogued so that you may know just which wealthy man or woman is occupying that particular box.

Before the performance, or during the intermission, you may go about, catalogue in hand, and see for yourself what these people, whom you have read so much about, look like. In other words, this horse show has become a society event, appealing to all classes of people, but more especially to the rich.

All is carefully planned. A flourish of trumpets, and the man with the megaphone announces the first number—perhaps a tallyho contest. More trumpets, and in come the dashing six horses drawing the picturesque tallyho. They have been driven a mile through Central Park before entering the building, and it is to the horses found to be in the best condition after this drive that the prize is to be given.

But scarcely have we looked at them when there is another flourish of trumpets, and another tallyho arrives, sounding its bugle call. The footmen descend and stand at the heads of the spirited horses while the passengers alight. We have a fleeting glimpse of their fashionable clothes; they have a moment’s rest, and then, when the judges have examined the horses, up they climb to their high seats and at the signal are driven slowly around the ring. Then others arrive, and soon all are driving in a gay procession around the ring. The spectators applaud enthusiastically while the spirited horses proudly arch their necks.

Then come the tandems, and horses and carriages of all kinds in order. Then horses are exhibited in every form of activity—leaping, running, pacing, and hurdling. After the show is over, perhaps we go to see the horses in their stalls, but then we find ourselves in the minority, for few spectators remain after the last horse leaves the track.

Would it not be pleasant now to go with Rosa Bonheur out into the great field near that avenue of trees, and watch the men riding or leading those powerful French dray horses before the judges? Horses like these have been imported to our country, so we see them on our own streets drawing heavy loads, and we know how strong and powerful they are.

There are more than twenty horses in this picture that we can count, each in action, and yet no two are alike. The artist has made us feel the perfect control man has over them. All the possibilities of a horse of this kind are represented. Here we see the well-trained, perfectly controlled horse going on cheerfully and steadily; there are some with their ears back, showing annoyance and watchfulness; here a rearing horse is trying to rid himself of his troublesome driver. That one at the left of the picture is angry, perhaps vicious. His driver is unable to manage him alone and it requires two men to control him. But they do control him, and in every case man, through his intellect, is the master.

Notice the colors of the horses: even a print of the picture tells us that they are white, dappled, and black. When they return, surely many of them will be wearing the blue ribbon.

At the right of the picture are several spectators who have gathered to see the splendid horses.

Rosa Bonheur wished to draw these horses two thirds life size, and when you consider the amount of space devoted to sky and ground, you will realize that it required a very large canvas. We are told that she stood upon a stepladder to paint parts of it.