Where many persons are moving together in the same direction, great care has to be exercised in presenting the actions conformably with the rate at which the movement is proceeding, for upon this of course depends the angles of the bended knees, and the extent to which some of the feet may be carried from the ground. In slow natural movements, as where a number of men are dragging a heavy burden, it is rare to find an artist wrong in his representation[a]; but in the case of numerous figures walking irregularly, a true nearground design is uncommon, the painter usually giving insufficient action, with the result that his figures present a stagy appearance.[b] But a defect of this kind is not so serious as where several men, not being in marching order, are moving in the same direction with their feet in similar positions, and each with a foot off the ground,[c] for this is only an aggravation of a case where the picture shows but a single figure walking with one foot in the air. [a] For good examples see Benoit's Morning of July 14, 1789, Poynter's Building the Treasure City, and Colton's Royal Artillery Memorial (sculptured relief). [b] Dehodencq's Bohemians Returning from a Fête, Chaumont Museum. [c] As in Breton's Cry of Alarm. An illusion of motion may be given to a line of figures in the middle distance of a landscape by simply winding the road along which they pass[a]; but the angles of the turns must be large, for when they are small, or when there is a distinct zigzag, the illusion is destroyed through the lengthy operation of the eye in comprehending the whole scene. [a] Diaz's Descent of the Bohemians. When many figures are moving close together, even if they be marching to the same step, an illusion of movement may be given by the representation of a flying figure proceeding in the same direction. This scheme has been adopted in sculpture with high success, as in the Shaw Memorial at Boston,[a] and the Marseillaise of Rude.[b] In painting, several horizontal figures may be used, but they must be placed irregularly to avoid the appearance of formality. Some modern French artists are responsible for effective designs indicating the arrival of spring by an overhead figure flying above young people moving through flowery fields.[c] [a] By A. Saint-Gaudens. [b] Arc de Triomphe, Paris. [c] See Aman-Jean's decorative panels at the Sorbonne.