h is not intended to serve merely as a scientific
diagram, an appearance which has no actual existence so far as his or
other human eyes are concerned, viz. that of the actual pose assumed
instantaneously and simultaneously by the four legs of the galloping
horse? And further, if he ought not to do this, what ought he to do,
on the supposition that his purpose is to convey to others the same
impression of rapid movement which exists--not, be it observed, in his
eye, or on the retina of that eye--but in his mind, as the result of
attention and judgment?

The first of these questions has been answered by the great French
authority on archaeology and the history of art, M. Salomon Reinach,[2]
whose writings are as lucid and terse as they are accurate, and
solidly based on research. M. Reinach shows (and produces drawings to
support his statement) that in Assyrian, Egyptian, Greek, Roman,
mediaeval, and modern art up to the end of the eighteenth century "the
flying gallop" does not appear at all! The first example (so far as
those schools are concerned) is an engraving by G. T. Stubbs in 1794
of a horse called "Baronet." The essential points about "the flying
gallop" are that the fore-limbs are fully stretched forward, the hind
limbs fully stretched backward, and that the flat surfaces of the
hinder hoofs are facing upwards. After this engraving of 1794 the
attitude introduced by Stubbs became generally adopted in English art
to represent a galloping horse, and the French painter, Gericault,
introduced it into France in 1821 in his celebrated picture, the
"Derby d'Epsom," (see Pl. II, fig. 1) which is now in the Louvre.

Previously to this there had been three other conventional poses for
the running horse in art, of which only the third (to be mentioned
below) has any resemblance to a real pose, and that not one of rapid
movement. We find: (1) The elongated or stretched-leg "prance"
(French, "_cabre allonge_"), in which, whilst the front legs are off
the ground, and all four legs are stretched nearly as much as in the
flying gallop, there is this essential difference, viz. that the hoofs
of the hind legs are firmly planted on the ground (see Pl. II, fig.
7). This pose is seen in a picture by the same artist (Stubbs) of two
years' earlier date than that in which he introduced "the flying
gallop." The "stretched-leg prance" is found in Egyptian works (Pl.
II, fig. 8) of 580 B.C., and is a favourite pose to indicate the
gal