You may now place the saddle on Dobbin's back, because (we are now looking for more details) the triangular shape of the saddle throws a shadow and marks the curve of his flank.
compare the various thicknesses of Dobbin's fore-legs. The width of the upper part, the firm square swelling of the knees, the narrowing of the fetlock, the curve and forward thrust of the fetlock, and neat little black hoofs. The hind-legs have a very decided and firm sweep backward.
The bridle is useful. The cheek-strap marks the thickest part of the horse's head, the frontal strap gives the width of the forehead, the long straight side-strap throws a shadow under the funny little painted eye and down the cheek.
It now only remains to draw his long thin face, and his rounded nostril, and his mouth open to receive the bit which has long since disappeared, and his two ears pricked intelligently forward. He has all the 'points' of a good horse, has Dobbin!
And surely among all or scalped darlings there will be one fair lady to sit for her portrait. Primrose, who never closes her blue orbs, though she is rocked until her small mistress's arms ache with fatigue, and Dahlia, proud, snub-nosed, and long-bodied. Primrose has a real dolly face, rosy cheeks, big round starring eyes, arched eyebrows, and pouting lips. We might do worse than study Primrose. Her eyes are glassy and stuck in oblong sockets; beyond that they have no more than a general resemblance to human eyes. But Primrose has not such an ill-proportioned body as some of her little doll-sisters, though her legs are stiff, and her arms are absurdly small.
Sketch first her large head, then her long body, the angles of her plump legs, and her tiny arms. Roughly mark the position of nose and eyes, the shape of the bobbed locks cut squarely across the brow and at the level of the ear. Look at the length of the sleeve folds under the arm. The feet being slightly upturned expose the tiniest slip of the sole of her shoes.
When you have the head on paper, then you can mark
