[Illustration: Plate III.--Representations of the gallop. Fig. 1.--A combination of the hinder half of Fig. 10, Pl. I, with the front half of Fig. 4, Pl. I. Fig. 2.--One of the many admirable Chinese representations of the galloping horse. This is very early, namely, 100 A.D. The pose is that of the "flying gallop" as in Figs. 2, 4 and 5 of Pl. II. Fig. 3.--From a Japanese drawing of the seventeenth century; the pose is a modification of the "flying gallop," and agrees closely with that of Fig. 1 in this plate. Fig. 4.--The flex-legged prance from a bas-relief in the frieze of the Parthenon, B.C. 300. Fig. 5.--A modern French drawing giving a pose very similar to that of Figs. 1 and 3. It is the most "effective" pose yet adopted by artists, and is an improvement on the full-stretched flying gallop, though failing to suggest the greatest effort and rapidity. Fig. 6.--Instantaneous photographs of four phases of a horse "jumping." Fig. 1. Fig. 2. Early Chinese. Fig. 3. Japanese, 17th Century. Fig. 4. Parthenon. Fig. 5. Conventional Gallop Fig. 6.] Two very interesting questions arise in connection with the discovery by instantaneous photography of the actual positions successively taken up by the legs of a galloping horse. The first is one of historical and psychological importance, viz. why and when did artists adopt the false but generally accepted attitude of the "flying gallop"? The second is psychological and also physiological, viz. if we admit that the true instantaneous phases of the horse's gallop (or of any other very rapid movement of anything) cannot be seen separately by the human eye, but can only be separated by instantaneous photography, ought an artist to introduce into a picture, which 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?