n, east of the Black Sea, dating from
500 B.C. Fig. 5.--From Muybridge's instantaneous photograph of a
fox-terrier, showing the probable origin of the pose of the "flying
gallop" transferred from the dog to other animals by the Mycenaeans.
Fig. 6.--The stretched-leg prance from the Bayeux tapestry (eleventh
century). Fig. 7.--The stretched-leg prance used to represent the
gallop by Carle Vernet in 1760. Fig. 8.--The stretched-leg prance used
by early Egyptian artists.

Fig. 1. Flying Gallop. (Gericault)

Fig. 2. Flying Gallop. (Mycenaean)

Fig. 3. Galloping Griffon.

Fig. 4. Flying Gallop. (Koben)

Fig. 5. Galloping Dog. (Photograph)

Fig. 6. Bayeux.

Fig. 7. Carle Vernet.

Fig. 8. Egyptian.]

[Illustration: Plate III.--Representations of the gallop. Fig. 1.--A
combination of the hinder half of Fig. 10, Pl. I, with the front half
of Fig. 4, Pl. I. Fig. 2.--One of the many admirable Chinese
representations of the galloping horse. This is very early, namely,
100 A.D. The pose is that of the "flying gallop" as in Figs. 2, 4 and
5 of Pl. II. Fig. 3.--From a Japanese drawing of the seventeenth
century; the pose is a modification of the "flying gallop," and agrees
closely with that of Fig. 1 in this plate. Fig. 4.--The flex-legged
prance from a bas-relief in the frieze of the Parthenon, B.C. 300.
Fig. 5.--A modern French drawing giving a pose very similar to that of
Figs. 1 and 3. It is the most "effective" pose yet adopted by artists,
and is an improvement on the full-stretched flying gallop, though
failing to suggest the greatest effort and rapidity. Fig.
6.--Instantaneous photographs of four phases of a horse "jumping."

Fig. 1.

Fig. 2. Early Chinese.

Fig. 3. Japanese, 17th Century.

Fig. 4. Parthenon.

Fig. 5. Conventional Gallop

Fig. 6.]

Two very interesting questions arise in connection with the discovery
by instantaneous photography of the actual positions successively
taken up by the legs of a galloping horse. The first is one of
historical and psychological importance, viz. why and when did artists
adopt the false but generally accepted attitude of the "flying
gallop"? The second is psychological and also physiological, viz. if
we admit that the true instantaneous phases of the horse's gallop (or
of any other very rapid movement of anything) cannot be seen
separately by the human eye, but can only be separated by
instantaneous photography, ought an artist to introduce into a
picture, whic