DOI Page / Citation link:
https://doi.org/10.11588/diglit.870#0072
62
Plate 42. No. 61.
Describes one of the victims destined for the sacrifice. There is a very natural expression in
the animal, which is raising its head in the act of lowing. The horns are out of perspective, but
that could not be avoided in has relief.
Plate 43. No. 76.
The attitude of the leading horse is extremely animated, and describes the animal as being thrown
suddenly on his haunches. The figure on the second horse wears a particular cap, indicative,
perhaps, of some distinction in rank.
Plate 44. No. 78.
The attitude of the horseman in this group is the finest illustration of a just and elegant seat on
horseback in the whole collection. The concavity of the loins, the projection of the head forwards to
balance the obliquity of the body, the closeness of the elbows to the hips, and the dropping the
hands on the withers to prevent the horse from throwing up his nose too high, all conspire to
give truth and ease to the upper part of the figure. Nor is the lower part less correct, as is manifest
by the thigh and leg being kept flat to the horse's sides, so as to apply as broad a surface as possible,
and thereby increase the number of points of contact between the two surfaces. The degree of
Plate 42. No. 61.
Describes one of the victims destined for the sacrifice. There is a very natural expression in
the animal, which is raising its head in the act of lowing. The horns are out of perspective, but
that could not be avoided in has relief.
Plate 43. No. 76.
The attitude of the leading horse is extremely animated, and describes the animal as being thrown
suddenly on his haunches. The figure on the second horse wears a particular cap, indicative,
perhaps, of some distinction in rank.
Plate 44. No. 78.
The attitude of the horseman in this group is the finest illustration of a just and elegant seat on
horseback in the whole collection. The concavity of the loins, the projection of the head forwards to
balance the obliquity of the body, the closeness of the elbows to the hips, and the dropping the
hands on the withers to prevent the horse from throwing up his nose too high, all conspire to
give truth and ease to the upper part of the figure. Nor is the lower part less correct, as is manifest
by the thigh and leg being kept flat to the horse's sides, so as to apply as broad a surface as possible,
and thereby increase the number of points of contact between the two surfaces. The degree of