, and thence by Southern Siberia to the
Chinese Empire (Pl. III, fig. 2) as early as 150 B.C., and that the
"flying gallop," so to speak, "flourished" there for centuries, and
was transmitted by the Chinese artists to the Japanese, in whose
drawings it is frequent (Pl. III, fig. 3). It was at last finally
brought back to Europe, and to the extreme west of it, namely,
England, by the importation in the eighteenth century into England of
large numbers of Japanese works of art. It was a Japanese drawing (M.
Reinach infers) which suggested to Stubbs the upturned hinder hoofs
and the detachment from the ground of "the flying gallop" which he
gave in his portrait of "Baronet," and so established that pose for a
century in modern European art. This is a delightful tracing out of
the wanderings of an artistic "convention," and the curious thing is
that its chief importance is not that it has to do with the movements
of the horse, but that it tends (as do other discoveries) to establish
the gradual passage of pre-classical Mycenaean art across Central Asia
to China and Japan by trade routes and human migrations which had no
touch with later Greece nor with Assyria nor India.

How did the Mycenaeans come to invent, or at any rate adopt, the
convention of "the flying gallop," seeing that it does not truly
represent either the fact or the appearance of a galloping horse?
Though 20,000 years ago the earliest of all known artists, the
wonderful cave-men of the Reindeer period, drew bison, boars, and deer
in rapid running movement with consummate skill, they were (be it said
to their credit!) innocent of the conventional pose of the "flying
gallop." I base this statement on my own knowledge of their work. M.
Reinach thinks that the "flying gallop" was devised as an intentional
expression of energy in movement. I venture to hold the opinion that
it was observed by the Mycenaeans in the dog, in which Muybridge's
photographs (now before me) demonstrate that it occurs regularly as an
attitude of that animal's quickest pace or gallop (see fig. 5, Pl.
II). It is easy to see the "flying gallop" in the case of the dog,
since the dog does not travel so fast as the galloping horse, and can
be more readily brought under accurate vision on account of its
smaller size. The late Professor Marey (a great investigator of animal
movement) appears to have denied that the dog exhibits the full
stretch of both limbs with the pads of the hind-feet upturne