ANIMALS 
162 
all of which, with some slight alterations in the fore legs 
of the animals, are treated in the same manner. 
Although the Greek artists, even at the zenith of 
their fame, frequently represented the gallop in accordance 
with its borrowed interpretation, their conceptions of the 
fast motion of a horse were not always restrained by the 
traditions of the past. Many works of art may be found 
in which rapidity of movement is expressed in phases 
which exhibit close attention to natural law. 
Their teachings soon began to exercise a salutary 
influence among the artists of other nations with whom 
they had communication. A curious instance of this may 
be seen on a silver dish of Phoenician manufacture, 
discovered by di Cesnola, on the island of Cyprus. 
On the border are two horses attached to a chariot, 
and represented in the orthodox Egyptian fashion ; imme¬ 
diately in front are two men, apparently Assyrians, riding 
horses, in which Greek treatment of a phase occurring in 
the gallop is very evident. 
The Phoenicians were not a creative or art-originating 
people, and their designs of moving animals seem to 
have been copied at random, according to the tastes of 
their patrons. 
In the Panathenaic procession there are not any 
horses to which the action of the gallop was intended 
to be given. Some appear anxious to start off at a rapid 
rate, others suggest a sudden check from a fast motion, 
but none are making a sustained rapid progress. 
The proportions of many of these horses are suscep¬ 
tible of criticism. 
MOTION. 
During the third century B.C., horses with riders began 
to appear in Egyptian designs, and a phase of motion is 
used which exhibits an innovation probably due to Greek 
influence. The earliest gold coin used by the British is 
of the second century b.c. It has for its obverse a warrior 
seated on a horse, the motion of which is more suggestive 
of a later treatment of the gallop by the Byzantines, than 
it is of that generally adopted either by the earlier Greeks 
or by the Romans. It is of similar design to a coin 
of the Macedonian Philip, and was probably stamped 
in Greece. Some of the British coins of the time of 
Boadicea bear the effigy of a singularly disjointed horse, 
undoubtedly a home-manufactured copy of the design on 
the phillipus. 
The Roman modification of the gallop can be advan¬ 
tageously studied from the designs on the column of 
Trajan, and on the arch of Titus. The extraordinary 
projection of the fore legs of many ancient sculptures of 
horses, of which the Biga at Rome is a well-known 
example, is worthy of attention. 
The gallop of the Byzantine Greeks had, probably, 
its best illustrations on the column of Theodosius, at Con¬ 
stantinople. Some of the horses have a resemblance to 
figures 5, 6, and 7 of the line of silhouettes. 
In the British Museum is a pilaster from the Tope at 
Amravati, India, carved in the sixth century, which has the 
front portions of several horses and other animals, galloping 
in compliance with Egyptian rules ; and a number of elabo¬ 
rate mosaics, of the same period, from Carthage, in which 
horses, hounds, stags, lions, hares, gazelles, and wild boars 
