d, and all
the feet free from the ground. He was mistaken, as Muybridge's
photograph giving side and back view of a galloping fox-terrier amply
demonstrates. It is quite in accordance with probability that the
early Mycenaean artists, having seen how the dog gallops, erroneously
proceeded to put the galloping horse, and all other animals which
they wished "to make gallop," into the same position.

It appears, then, that the poses used by artists at different times
and in different parts of the world to represent the "galloping" of
the horse have no correspondence to any of the poses actually assumed
by a galloping horse as now demonstrated by instantaneous photography.
The "prancing" attitude of the horses of the frieze of the Parthenon
was probably not intended to represent rapid movement at all. The
"stretched-leg" pose and the "flex-leg" pose are, as a matter of fact,
phases of "the jump," and are definitely recorded in Muybridge's
instantaneous photographs of the jumping horse, but have no existence
in "galloping" nor in any rapid running of the horse. They were
probably adopted by the artists of Egypt, Assyria, Greece, and their
successors in Europe as an expedient without conviction, to represent
rapid movement, the true poses of which defied satisfactory
reproduction. And it is also the fact that the "flying gallop," which
appeared in Mycenaean art thirty-seven centuries ago, and then
travelled by a "Scythian" route through Tartary to China, and came
back to Europe at the end of the eighteenth century, is also--so far
as it has any real representative in the action of the horse--only
approached by a brief phase of the "jump." The poses of the horse in
jumping are shown in the small figures taken from instantaneous
photographs and reproduced in Fig. 6 of Pl. III. The "flying gallop"
("_ventre a terre_"), with all four legs stretched, and the under
surface of the hind feet upturned, is really seen by us all every day
in the dog, and is recorded in instantaneous photographs of that
animal going at full speed. In fact, the gallop of the dog (and of
some other small animals) is a series of jumps; the animal "bounds
along." But this is a totally different thing from the gallop of the
horse. It is probable that the dog's gallop was transferred, so to
speak, to the horse by artists, and a certain justification for it was
found in one of the attitudes of a jumping horse, which, however,
never exhibits both the front and