How did the Mycenaeans come to invent, or at any rate adopt, the convention of "the flying gallop," seeing that it does not truly represent either the fact or the appearance of a galloping horse? Though 20,000 years ago the earliest of all known artists, the wonderful cave-men of the Reindeer period, drew bison, boars, and deer in rapid running movement with consummate skill, they were (be it said to their credit!) innocent of the conventional pose of the "flying gallop." I base this statement on my own knowledge of their work. M. Reinach thinks that the "flying gallop" was devised as an intentional expression of energy in movement. I venture to hold the opinion that it was observed by the Mycenaeans in the dog, in which Muybridge's photographs (now before me) demonstrate that it occurs regularly as an attitude of that animal's quickest pace or gallop (see fig. 5, Pl. II). It is easy to see the "flying gallop" in the case of the dog, since the dog does not travel so fast as the galloping horse, and can be more readily brought under accurate vision on account of its smaller size. The late Professor Marey (a great investigator of animal movement) appears to have denied that the dog exhibits the full stretch of both limbs with the pads of the hind-feet upturned, and all the feet free from the ground. He was mistaken, as Muybridge's photograph giving side and back view of a galloping fox-terrier amply demonstrates. It is quite in accordance with probability that the early Mycenaean artists, having seen how the dog gallops, erroneously proceeded to put the galloping horse, and all other animals which they wished "to make gallop," into the same position.