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Author’s Introduction

Dogsteps—A New Look is designed to make easier the recognition of normal and faulty ways in which the dog moves.

Gait tells much about a dog’s structure that is not revealed when he is standing still, as it reflects his physical coordination, balance of body and soundness. The correlation between gait and structure is frequently misunderstood and—in a time when growing interest in dogs as family pets tends to lessen awareness of the need for stamina and working ability—its significance is often overlooked.

Sound movement contributes to the health and normal lifespan of all dogs. It is as desirable a feature in the family pet as it is important to the usefulness of dogs for hunting, farm work, police duty or racing; and without it show winners can never achieve true excellence. Also, sound dogs are happier dogs. This emphasis is not to detract from the value of type and temperament, which are necessary for the preservation of any breed, but rather to underline the truth of the old saying, “As a dog moves, so is he built.”

Dogs do not all move alike. Differences in size and shape influence their way of going. The flashy step of a small terrier, for example, or the brisk trot of a Welsh Corgi, is not the same as the easy, loose stride of Bloodhounds or Newfoundlands. And the spirited drive of proud-headed Setters lends contrast to the patient scent- trailing action of BassetHounds. Through the centuries man has developed various kinds of dogs to meet his needs and his fancies, and their individuality today is the result of long years of selective breeding.

Varied as dogs are, however, the principle by which they cover the ground is the same for all and is dictated by nature. This is the law of balance and gravity, which is constantly directed toward efficient forward motion with a minimum waste of effort—the key to good movement. When man upsets this law through inattention to sound structure, nature has to compensate for his mistakes with counterbalances which show up in faulty gaiting patterns.

Incorrect movement, either temporary or permanent, can also occur as a result of lameness due to sprains, breaks, cuts, bruises or other reasons, but these should be recognized for what they are and not confused with inherited defects. Faults vary in severity and frequency from dog to dog and from breed to breed, but they are universal to the canine world—constantly challenging our search for perfection.

While one does not have to be a student of anatomy to appreciate dogs, the ability to recognize good and poor movement is basic for a working knowledge. To be sure, movement is quicker than the eye, but the educated eye knows better what to look for, and the eye that understands is not easily deceived. In the course of my study on this subject, I have taken slow-motion movies, from which I have drawn animated sequences showing various phases of leg action at different angles to the viewer. Included also, are a few skeletal suggestions to help the reader visualize bone and joint movement beneath coat and muscles. Some of the illustrations may appear to be exaggerated— actually they are not; most are tracings from frames of my movie films.

There is no intention to associate any of the technical sketches with a particular breed—for all are vulnerable. Except for some of the pencil drawings showing dogs at work, most of the studies portray dogs moving at the trot, as this gait is generally considered best for evaluating movement as it relates to build. However, some examples of other gaits have also been included for identification and comparison.

For newcomers, interest in Dogsteps—ANew Look may be simply in owning a good dog. Nevertheless, we hope there is something of value here for all dog fanciers, and particularly the many breeders who are striving to raise better puppies.

Addendum

Life is a constant process of learning that brings deeper understanding. Since the initial publication of this book in 1973, I have been privileged to study canine bone and joint motion at Harvard University’s Museum of Comparative Zoology where there is a specially equipped laboratory for simultaneously photographing and fluoroscoping animals as they move at controlled speeds on a treadmill. This procedure is known as cineradiography, like moving X-rays.

My investigation was at first oriented toward the study of hip dysplasia. Not surprisingly, this led to other aspects of dog structure and answered numerous questions that have long puzzled me, particularly in regard to the dog’s front assembly, how it really functions, and why a 45 degree angle of the shoulder blade is only a myth—in contradiction to the many writings that describe such an angle as essential to ideal conformation. The findings were further substantiated by lateral view X-rays of dogs in standing position. What we have failed to recognize is the mobility of the shoulder blade as it lifts and swings in coordination with the upper arm, together with the crucial influence of shape of the rib cage and the muscular forces of both. Cineradiography also shows beyond a doubt why dogs normally reach toward the center line of travel rather than moving with the legs parallel.

It is with a feeling of responsibility that I share the radiographic findings with fellow dog fanciers, for I realize how ideas that upset or challenge long standing theories or concepts can create controversy. I do not aim to persuade—I offer the new material in this edition only to present and discuss the findings as they have been revealed to me.

— Rachel Page Elliott

Acknowledgments

Much appreciation is extended to the many friends who contributed their time in making their dogs available for filming and for the fluoroscopic study of bone and joint motion illustrated in the pages of this book—a study that has opened our eyes to the reality of the working skeleton. This research would not have been possible without the cooperation of Harvard University’s Museum of Comparative Zoology where I was allowed access to special laboratory facilities, particularly through the kindness of Dr. Farish Jenkins, Professor of Biology and Curator of Vertebrate Paleontology at the Museum. Dr. Jenkins’ help, together with a generous grant from the Orthopedic Foundation for Animals, made this study possible. A silent partner through the entire project was Dr. Edgar Tucker of the Concord AnimalHospital, whose dedication to educating dog owners as to the importance of good structure and stable temperament was a constant source of inspiration. Dr. Peter Morey of the Carlisle AnimalHospital also contributed to the project through his cooperation in taking standing X-rays of dogs.

My sister, Priscilla Rose, gave valuable suggestions, not the least of which was the original title “Dogsteps.” Artists Margaret Estey and my son-in-law Maris Platais offered wise counsel on diagrammatic illustrations. Thanks, too, to Eve Andrade whose beautiful pencil drawings of dogs at work brought life to the text.

For this third edition Marcia Schlehr has shared her talent and extensive knowledge of anatomy and gait, and I am grateful for her help with editing and some of the illustrations. Dr. Elizabeth Trainor gave generously with her time and constructive advice, and my close friend and overseas travel companion, Kathy Liebler, carefully reviewed each page of the manuscript. Credit also goes to my son Mark David Elliott, Jr., who, so like his father, was always ready to help clarify parts of the text. I must mention, too, our faithful housekeeper, Alberta White, who freed endless hours for my work.

I will always remember the encouragement given me by Ellsworth Howell, founder of Howell Book House, not only in pursuing my idea for the first publication of Dogsteps, 1973, but also for publishing the second edition, entitled The New Dogsteps, 1983. Dr. Alvin Grossman of Doral Publishing Company took El’s place, with confidence and willingness to go ahead with a third edition that continues the timeless message of the need for sound structure and careful breeding programs. My appreciation runs deep.

— Rachel Page Elliott, 2001