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 gallop, in ancient Assyrian as well as mediaeval art, for instance, in the Bayeux tapestry (Pl. II, fig. 6). We find, further, (2) that the second pose made use of for this purpose is the "flexed-leg prance," in which all the four legs are flexed, so that the hind legs rest on the ground beneath the horse's body, whilst the forelegs "paw" the air. This is seen both in Egyptian, Greek, and Renaissance art (Leonardo, Raphael, and Velasquez). It is by no means so graceful or true to Nature as the next pose, but gives an impression of greater energy and rapidity. The third pose represents a kind of "prancing," and is seen on the frieze of the Parthenon (Pl. III, fig. 4), and in many subsequent Greek, Roman, and other works copied from or inspired by, this Greek original. One only of the hind legs is on the ground, and the animal's body is thrown up as though its advance were checked by the rein. It is called "the canter" by M. Reinach, but that term can only be applied to it when the axis of the body is horizontal and parallel to the surface of the ground.