There are no doubt qualities in the painting which evade analysis by a mere amateur, and yet involve supreme craftsmanship—such things as precision of line, perfect mastery of the palette, clever brush-ework, management of shadow, perspective, proportion, and relation of the parts to the whole; but I leave all that to the professionals whose business it is to appreciate it; what strikes me especially about Zeuxis is the manifold scope which he has found for his extraordinary skill, in a single subject. You have in the husband a truly terrible savage creature; his locks toss about, he is almost covered with hair, human part as well as equine; the shoulders high to monstrosity; the look, even in his merry mood, brutal, uncivilized, wild.

In contrast with him, the animal half of the female is lovely; a Thessalian filly, yet unbroken and unbacked, might come nearest; and the human upper half is also most beautiful, with the one exception of the ears, which are pointed as in a satyr. At the point of junction which blends the two natures, there is no sharp line of division, but the most gradual of transitions; a touch here, a trait there, and you are surprised to find the change complete. It was perfectly wonderful, again, to see the combination of wildness and infancy, of terrible and tender, in the young ones, looking up in baby curiosity at the lion-cub, while they held on to breast and dug, and cuddled close to their dam.