The vertical I,II passes in front of the front foot, continues through the centre of the chest and ends where the neck begins, according to each individual.
The vertical III,IV marks the end of the hindquarters, the hoock and the back part of the foot.
The horizontal ( II, IV) marks the centre of the back.
A second square formed inside the first, called “the weight bearing vector A,B,C,D” is formed by:
The vertical AB which passes through the foot at the end of the ball of the foot, in front of the front pastern, through the limb, to end by the shoulder joint.
The horizontal B,D goes from the shoulder blade to the femur/iliac joint. The vertical C,D passes behind the femur, in front of the rear pastern to end at the ball of the foot.
By thus reducing the dog’s silhouette to these geometric shapes we see better the relevant proportions.
Our “boule” is a dog of very difficult lines The systematic search for the correct “weight bearing lines” is the most important point for any judge. Once we have the points B ( the point immediately below the shoulder blade) and D, the postion of the hip joint, fixed, then we can quickly see:
1. If the weight is correctly distributed
2. Mark the limit of both rectangles, the exterior I,II,III,IV and the interior A,B,C,D
The importance lies not in defining a certain type of dog, but in looking for the most harmonious dog possible. In particular in looking for where the axis of symmetry of these two squares is reflected.
The definition of type by the nesting or harmony of these is not all. To this harmony that we see in profile must be added that which is seen from front-on, given that this determines the stockiness of the dog. Here also we see a perfect square which should be visible between the legs. Its vertical sides being drawn by the legs, which should be straight, and the horizontals by the floor and the line that joins the armpits.
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We need to visualise the three dimensions to obtain a representation of both internal and external structure, so appreciating the skeletal construction beneath the skin and muscle.
A poor skeleton covered by a good musculuture will always show joints that are too frail for the whole: it is precisely at the joints where we can see the bone structure. The relation between bone mass and muscle development is obvious to the touch. A fat dog is not necesarily a well muscled dog, and a fine bone construction combined with a normal muscle development will lead to relatively fine limbs.
Our defintition of “weight bearing line”, taking this into account, is: "the normal position of the legs under the body”. The primary function is to find a natural balance, so making movement easy. A well-balanced dog with a compact structure cannot be well set unless the front limbs are properly counterbalanced by the hind limbs.
The “weight bearing line” should always be judged at rest, both profile and front-on. The movement shoud show harmonious concord in all aspects. Regularity of movement, equilibrium, elegance of gait, all these are due to a correct “weight bearing line”.
If this is correct, then we have an impression of a floating gait. The Frenchy seems to “ walk on nothing” and the ground seems to spring from his feet. This is exactly the deportment which the standard describes, the exact “digigrade” gait.
A vertical defect in these lines is seen as poor movement. However if it is fairly easy to tell in the front limbs, in the hind limbs it is not so simple. It is subject to more inequality ( uneven ground, psycholoical effects etc.) so a Boule must be trained to present well so that his good points shine over his defects.
The problem is that we often judge these squares when the dog has been in a standing position for a while. I f instead we note the position just as the dog comes to a halt we get a much clearer idea of the bone structure and how it is balanced. The movement shows us the points of articulation. At the moment of stopping the position assumed by the dog will show us his natural point of stability at rest.
But this natural position is artificially corrected in the ring by the presenter in an attempt to hide the defect, sometimes a dog is made to lean backward to hide straight hock joints.
Only after seeing the dog in movement may we see clearly the “weight lines” at rest, after keeping in mind what the movement has shown us. Then we can judge the harmony of the geometric form of the squares I,II,III,IV and A,B,C,D.
Ch Dogwood Impromptu. 1971
"Le Bouledogue français". Emmanuel-P and Anita-L. Gay. Switzerland.1967