these goats have no nonsense about them when they are alone with the goat-herds, any more than the goat-herds have, except when they come to pose in the studio; but the long ages of culture, the presence always to the eye of the best models and the forms of immortal beauty, the heroic friezes of the Temple of Theseus, the marble processions of sacrificial animal have had a steady moulding, educating influence equal to a society of decorative art upon the people and the animals who have dwelt in this artistic atmosphere. The Attic goat has become an artificially artistic being; though of course he is not now what he was, as a poser, in the days of Polycletus. There is opportunity for a very instructive essay by Mr. E. A. Freeman on the decadence of the Attic goat under the influence of the Ottoman Turk.
The American deer, in the free atmosphere of our country, and as yet untouched by our decorative art, is without self-consciousness, and all his attitudes are free and unstudied. The favorite position of the deer—his fore-feet in the shallow margin of the lake, among the lily-pads, his antlers thrown back and his nose in the air at the moment he hears the stealthy breaking of a twig in the forest—is still spirited and graceful, and wholly unaffected by the pictures of him which the artists have put upon canvas.
Wherever you go in the Northern forest, you will find deer-paths. So plainly marked and well-trodden are they, that it is easy to mistake them for trails made by hunters; but he who follows one of them is soon in difficulties. He may find himself climbing through cedar-thickets an almost inaccessible cliff, or immersed in the intricacies of a marsh. The “run,” in one direction, will lead to water; but, in the other,
