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Updated: May 4, 2025
In all other matters the two creatures the cave man's horse and Prjevalsky's closely agree. Both display large heads, thick necks, coarse manes, and a general disregard of 'points' which would strike disgust and dismay into the stout breasts of Messrs. Tattersall.
In fact over a T.Y.C. it may be confidently asserted, in the pure Saxon of the sporting papers, that Prjevalsky's and the cave man's lot wouldn't be in it. Nevertheless a candid critic would be forced to admit that, in spite of clumsiness, they both mean staying. So much for the two sitters; now let us turn to the artist who sketched them. Who was he, and when did he live?
But Prjevalsky's horse, as one would naturally expect from an early intermediate form, stands half-way in this respect between the two groups, and acts the thankless part of a family mediator; for it has most of its long tail-hairs collected in a final flourish, like the donkey, but several of them spring from the middle distance, as in the genuine Arab, though never from the very top, thus showing an approach to the true horsey habit without actually attaining that final pinnacle of equine glory.
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