It may, perhaps, be suggested (and, indeed, has been), that it is the "blurred" or "fused" picture produced by the successive poses of the galloping horse's legs in one-tenth of a second that the painter ought to imitate on his canvas. In support of this notion we have the fact that the rapidly running wheels of a coach or of a gun-carriage (as in the pictures by Wouwerman) are represented by artists, not with the twelve or fourteen spokes which we know to be there--and would be photographed as separate things in an exposure of the fortieth of a second--but as a blurred haze of some fifty or more indistinct "spokes." In this case it undoubtedly results that the observer of the picture is satisfied and receives the mental impression or illusion of a rapid rotation of the wheel. I have tried the experiment with instantaneous photographs of the galloping horse, and I get three results: first, no combination of successive phases occupying one-tenth of a second gives anything resembling the "flying gallop" of the racing plates (the Mycenaean and Stubbsian pose), or any other conventional pose; second, no combination of successive instantaneous photographs limited to ten second gives any pose which satisfies the judgment and suggests a movement like the gallop; third, the combination which comes nearest to satisfying the judgment as being a natural appearance, but does not quite succeed in doing so, is one formed by the fusion of figs. 2 and 3 of Pl. I. This gives all four legs off the ground, drawn up or flexed beneath the horse's body, as in Morot's picture of the sabre-charge at Resonville.