At the National Museum of Natural History, Jess meets Dr. Catherine Morgan, English equine veterinarian. They venture up to the attic where the horse specimen is stored. Despite its neglect, the horse skeleton shows no signs of disrepair. Catherine’s research project involves ascertaining how 19th-century racehorses managed to withstand grueling speeds, demanding training regimens, and rigorous racing schedules. She has been evaluating the skeletons of all the greatest Thoroughbred racehorses in history. Jess presumes the skeleton is irrelevant in the pantheon of greats. Catherine is shocked, scoffing at the label Horse on the specimen’s plate: “Not just Horse. The horse. What you have here is the greatest racing stallion in American turf history” (70).

Scott paints a small portrait of Darley for Jarret to show his appreciation. In his diary, Scott admits that though he considers himself opposed to slavery, he would purchase Jarret’s enslavement if he could, impressed by Jarret’s talents with horses and his ability to anticipate Scott’s needs. Scott realizes, upon giving Jarret the painting, that Jarret’s “condition afforded him few possessions he might claim as his own” (72).

Scott observes the tension in Dr.