forward and the front ones backward, under the horses' belly (see Pl. I, figs. 2 and 3). A model showing this actual instantaneous attitude of the galloping horse has recently been placed in the Natural History Museum. When the hoofs touch the ground again after this instantaneous lifting and bending of the legs under the horse, the first to touch it is that of one of the hind legs (Pl. I, fig. 4), which is pushed very far forward, forming an acute angle with the body. The shock of the horse's impact on the ground is thus received by the hind leg, which reaches obliquely forward beneath the body like an elastic <- spring. Since the instantaneous photographs have become generally known artists have ceased to represent the galloping horse in the curious stretched pose which used to be familiar to everyone in Herring's racing plates (see Pl. II, fig. 1), with both fore and hind legs nearly horizontal, and the flat surface of the hind hoofs actually turned upwards! Indeed, as early as 1886 a French painter, M. Aime Morot, availed himself of the information afforded by the then quite novel instantaneous photographs of the galloping horse, and exhibited a picture of the cavalry fight at Rezonville between the French and Germans, in which the old flying gallop does not appear, but the attitudes of the horses are those revealed by the new photographs. The picture is an epoch-making one, whether justifiable or not, and is now in the gallery of the Luxembourg. It must be noted that though Meissonier and others had succeeded in representing more truthfully than had been customary, other movements of the horse, such as "pacing," ambling, cantering, and trotting, yet in regard to them, also, more easily observed because less rapid, the instantaneous photograph served to correct erroneous conclusions. [Illustration: Plate II.--Various representations of the gallop. Fig. 1.--From Gericault's picture, "The Epsom Derby, 1821." Figs. 2 and 3.--From gold-work on the handle of a Mycenaean dagger, 1800 B.C. Fig. 4.--From iron-work found at Koban, 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.]