and some of their European
imitations (but not all--certainly not that of Stubbs, of the Epsom
Derby of Gericault, and the racing plates) seem to me to be eminently
satisfactory and successful in this respect. In the pictures to which
I allude (Pl. III, figs. 3 and 5) all the legs are off the ground; the
front legs are advanced, but one or both may be more or less flexed,
whilst the hind legs, though directed backwards with upturned hoofs,
are not nearly horizontal (as they actually are in the galloping dog),
but show the moderate extension which really occurs in the horse, and
is recorded by instantaneous photography. This pose, favoured by many
European and Japanese artists, can be obtained by uniting the
outstretched hind legs of fig. 9 of the Muybridge series (Pl. I), with
the outstretched forelegs of fig. 6, as shown in Pl. I, fig. 12, or by
uniting the hind legs of fig. 10 with the forelegs of fig. 4 as shown
in Pl. III, fig. 1.

With regard to the representation of other "gaits" of the horse than
that of the rapid gallop--such as canter, trot, amble, rack, and
walk--I have no doubt that instantaneous photography can (and in
practice does) furnish the painter with perfectly correct and at the
same time useful and satisfactory poses of the horse's limbs. These,
though of longer duration than the poses of the gallop, can only be
correctly estimated by the eye with great difficulty, and only
sketched by artists of exceptional skill and patience. The movement of
the wings of birds in flight has been very successfully analysed by
instantaneous photography. Some of the poses revealed must familiarise
the public with what can be, and, in fact, has been, observed in the
case of large sea-birds, by the unassisted eye, and has been
represented in pictures by the more careful observers of nature among
modern painters. A large sea-bird sailing along with apparently
motionless wings has been photographed in the act of giving a single
stroke so rapid as to escape observation by the eye.

An interesting question in regard to the movements of the horse is
that as to how far any known "pace" is natural to that animal, and how
far it has been acquired by training and is, in a sense, artificial.
We know so little of the wild horse, and of the more abundant wild
asses and zebras, that it is difficult to say anything precise on this
question. There is only one region in which the true original wild
horse of the northern part of Asi