POSITION AND STRUCTURE OF HORSE 65 



has shown that in the pre- Homeric art of Greece — 

 that which is called ' Mycenaean ' (of which so 

 much was made known by the discoveries of that 

 wonderful man Schliemann when he dug up the 

 citadel of Agamemnon) — the figures of animals, 

 horses, deer, bulls (see the beautiful gold cups 

 of Vaphio ! ), dogs, lions, and griffins, in the exact 

 conventional pose of 'the flying gallop,' are quite 

 abundant ! There was an absolute break in the 

 tradition of art between the early gold-workers 

 of Myken^ (1800 to 1000 B.C.) and the Greeks of 

 Homer's time (800 B.C.). Europe never received it, 

 nor did the Assyrians nor the Egyptians. Thirty 

 centuries and more separate the reappearance in 

 Europe of ' the flying gallop ' — through Stubbs — 

 from the only other European example of it — the 

 Mycensean. What, then, had become of it, and 

 how did it come to Eno-land? M. Reinach shows 

 by actual specimens of art-work that the Mycensean 

 art tradition, and with it ' the flying gallop,' passed 

 slowly through Asia Minor into ancient Persia, 

 thence by Southern Siberia to the Chinese Empire, 

 as early as 150 B.C., and that 'the flying gallop,* 

 so to speak, ' flourished ' there for centuries, and 

 was transmitted by the Chinese to the Japanese, 

 in whose drawings it is frequent. It was at last 

 finally brought back to Europe, and to the extreme 

 west of it, namely, England, by the importation 

 in the eighteenth century into England of large 



