“Broad Breast, full Eyes, small Head, and Nostrils wide.
“High Crest, short Ears, strait Legs, and passing Strong.
“Thin Mane, thick Tail, broad Buttocks, tender Hide.”—Shakespeare’s Horse of Adonis.
No man who has witnessed the performance of Mr. Ducrow’s stud in “the Battle of Waterloo” at Astley’s, will deny, that our Poet Pope’s epithet of “half-reasoning” is not quite as justly due to the sagacity of the Horse, as it is to the Elephant.
It would be Injustice not to add, that the energetic and natural acting of Mr. Gomersal in his personation of “Buonaparte,” is as perfect a performance as the English stage can exhibit.
The whole of this Drama is a very extraordinary effort, and does great credit to the ingenious author of it, Mr. J. Amherst.
The figure and symmetry of the Horse is no where more perfectly displayed, than in the Equestrian Statue of Charles the First, at Charing Cross, which is said to be the most finished piece of workmanship of its kind ever produced: that of Marcus Aurelius, or the two Horses on the Monte Cavallo, or Quirino at Rome, not excepted.
Continually, however, in our sight, this “Chef d’Œuvre” is not only disregarded, but neglected.
English Horses, are equally remarkable for their Strength and for their Speed.
“Each seeming want compensated of course,—