It appears, then, that the poses used by artists at different times and in different parts of the world to represent the "galloping" of the horse have no correspondence to any of the poses actually assumed by a galloping horse as now demonstrated by instantaneous photography. The "prancing" attitude of the horses of the frieze of the Parthenon was probably not intended to represent rapid movement at all. The "stretched-leg" pose and the "flex-leg" pose are, as a matter of fact, phases of "the jump," and are definitely recorded in Muybridge's instantaneous photographs of the jumping horse, but have no existence in "galloping" nor in any rapid running of the horse. They were probably adopted by the artists of Egypt, Assyria, Greece, and their successors in Europe as an expedient without conviction, to represent rapid movement, the true poses of which defied satisfactory reproduction. And it is also the fact that the "flying gallop," which appeared in Mycenaean art thirty-seven centuries ago, and then travelled by a "Scythian" route through Tartary to China, and came back to Europe at the end of the eighteenth century, is also--so far as it has any real representative in the action of the horse--only approached by a brief phase of the "jump." The poses of the horse in jumping are shown in the small figures taken from instantaneous photographs and reproduced in Fig. 6 of Pl. III. The "flying gallop" ("_ventre a terre_"), with all four legs stretched, and the under surface of the hind feet upturned, is really seen by us all every day in the dog, and is recorded in instantaneous photographs of that animal going at full speed. In fact, the gallop of the dog (and of some other small animals) is a series of jumps; the animal "bounds along." But this is a totally different thing from the gallop of the horse. It is probable that the dog's gallop was transferred, so to speak, to the horse by artists, and a certain justification for it was found in one of the attitudes of a jumping horse, which, however, never exhibits both the front and the hind legs simultaneously in so completely horizontal a position as they are made to take in the Mycenaean gold-work and the modern "racing plates."