THE 
that during this portion of the stride of a horse at full 
gallop, all four of the legs are flexed, and their feet in 
close proximity, especially in 3, 4, and 5, where they 
remain without much independent action for a compara¬ 
tively long period of time, with the result that this class 
of phase has a stronger and more lasting effect on the 
retina of the eye than any other class, and conveys to the 
unprejudiced and to the unsophisticated observer an 
impression of extreme rapidity. 
The horse does not make its appearance in Egyptian 
art until about 1500 b.c., or shortly before the Israelite 
exodus. For many centuries it seems to have been used 
for no other purpose than to drag a chariot in warfare or 
in a triumphal procession. No evidence of its use for 
riding purposes appears for nearly a thousand years later. 
The battles of Seti and of his son Rameses, carved 
on the walls of Karnak and other temples, include numbers 
of chariots, each drawn by two horses in the conventional 
phase prescribed by law. The probability of this phase— 
which represents an incident of the leap—having been 
chosen as an emblem of the triumphant monarch sur¬ 
mounting every obstacle that interposed itself between 
him and victory, may be worthy of consideration. What¬ 
ever its origin, the remarkable fact is disclosed, that this 
phase of an entirely different and accidental motion of 
the horse was accepted, with sometimes the modifications 
introduced by the Greeks, the Romans, or the Byzantines, 
almost universally, as the symbol of the gallop, by gene¬ 
ration after generation of artists for more than thirty 
centuries. 
In the twelfth century b.c.* it appears on a slab of 
marble, discovered at Mycenm, representing a warrior in 
a chariot drawn by two horses. 
The explorations of Layard prove that in the eighth 
century b.c. the horse was used by the Assyrians, both 
for dragging chariots and for riding ; several bas-reliefs 
in the British Museum illustrate the animal being used 
for these purposes, and with the same indications of rapid 
motion as those prevailing on the banks of the Nile. 
In the gallery of the Louvre is a slab of this period 
from the temple at Assos, representing a centaur galloping 
in the same manner. Babylonian coins indicate a similar 
treatment of the movement. 
Even in the caricatures of these times, no other phase 
seems to have been thought of. In a papyrus, depicting 
a battle between cats and rats, the animals in the chariots 
of the attacking parties are, virtually, copies of the horses 
at Karnak; and a Phoenician vase in the British Museum 
exhibits in a significant manner the defeat of an Egyptian 
warrior, who is launching a farewell arrow to the rear, 
while a solitary horse in his chariot, with anterior feet 
high in the air, is being driven, with presumed rapidity, 
homewards. 
A Greek gem of the sixth century b.c., has a beauti¬ 
fully executed intaglio engraving of a winged goddess in 
a chariot, driving two horses in a slightly modified style 
to that of the Egyptians. 
The Nereid monument, now in the British Museum, 
originally erected at Xanthos, Lycia, four centuries b.c., 
has a number of horses and dogs engaged in the chase, 
