i6o 
ANIMALS 
combination of phases in the motion of the animal convey 
an impression resembling it. A suggestion of it may 
be found in figure 9 of the silhouettes; but it may perhaps 
be more correctly represented by phase 16, p. 225, which 
occurs in the leap of a cat. 
The segregation of the innumerable different repre¬ 
sentations of the gallop into three principal groups is, of 
course, purely arbitrary. Each group is susceptible of 
subdivision, especially that classified as Ancient, of which 
certain differences may be noted in the Egyptian, the 
Assyrian, the Grecian, the Roman, and the Byzantine 
method of treatment. The grouping is merely intended 
to indicate the general idea which seems to have influenced 
the artist when his evident intention was to represent the 
animal at full speed, in accordance with the prevailing 
fashion of his nation or his time. 
It is as well, perhaps, to remark, that in the line of 
silhouettes, figures 1, 2, and 9 only, are phases which 
occur in regular progressive motion ; 3 and 4 are selected 
from seriates of preparations for a leap over a hurdle ; 
7 and 8 represent the recovery from the first contact with 
the ground after a leap ; 5 and 6 illustrate phases of the 
capering which a horse sometimes indulges in before 
starting on a regular method of progress. 
To the student who wishes to inquire more minutely 
into the history of the artistic gallop, the following refer¬ 
ences to some examples of its treatment may be found 
useful. 
In the Museum of Art at New York is a well-preserved 
porphyry cylinder, unearthed by the archaeologist Ward 
'N MOTION. 
on the plains of Chaldaea, and pronounced to be of Hittite 
manufacture, of date probably 3000 to 2000 b.c. 
Among other designs thereon are the figures of two 
men with their arms upraised, stampeding a herd of cattle, 
which are evidentlv fleeing from them at their utmost 
speed. The animals are represented with all their legs 
flexed under their bodies, somewhat like those of the 
buffalo (2, 3, and 4, series 52). 
In the “ Skandinaviens Hallristningar Arkeologisk 
Afhandling,” 1848, Dr. Holmberg reproduces some pre¬ 
historic sculptures on a rock at Tegneby, Sweden. Among 
other figures are several horses, and two groups of horse¬ 
men, charging apparently in battle. These designs are 
probably of earlier date than any others yet found in 
Northern Europe, and they represent the animals with 
their legs flexed under their bodies. 
On an archaic Mycentean vase, reproduced in the 
“Journal of Hellenic Studies,” vol. vii., are some figures 
of a horned animal resembling an ibex, the legs of which 
are arranged in the same manner. 
More recently, the Alaskans, in their etchings on ivory, 
and, further south, other North American Indians, on their 
painted buffalo-skins, were accustomed to the use of 
similar phases as an indication of speed. 
An intelligent child, known to the author, who, having 
a talent for drawing, and, happily, not familiar with the 
conventional representation of the gallop, was asked to 
sketch her idea of a runaway horse, which she had seen, 
produced a similar phase as her impression of the action. 
A reference to phases 2 to 6, series 46, demonstrates 
