THE GALLOP. 
are represented in hunting scenes, in accordance with the 
same standard. 
If the illustrations in Porter’s work faithfully represent 
the carvings on a Persian temple of the same century, at 
Tackt-i-Bostan, the designer of some reliefs representing a 
horse, a deer, and a wild boar seems to have anticipated 
the interpretations of the nineteenth-century artists. 
The ruins of a temple at Angkor Wat, on the borders 
of Cambodia and Siam, built probably in the ninth century, 
by a race of people called the Khmers, exhibit carvings on 
stone of several chariots occupied by Mongolians, and 
drawn by horses which, in their expression of motion, have 
a striking resemblance to some of those on the Parthenon 
frieze. 
The outlines of a gigantic horse, cut into the side of 
a Berkshire hill, in supposed commemoration of a victory 
by King Alfred over the Danes, presents the appearance 
of having been copied from a Byzantine design. 
European artists of this epoch, in their interpretation of 
the gallop, seem to have lapsed into the original conven¬ 
tionality. Evidence of this is seen in the miniatures of a 
ninth-century Bible in the Vatican library ; in the Anglo- 
Saxon manuscripts of Prudentius, and of other writers in 
the Greek and Latin tongues ; and it appears with many 
other known and unknown motions on the Bayeux tapestry 
of the eleventh century. 
In the fourteenth century a remarkable exception to 
the rule was painted—probably by Pisano—on the walls of 
the Campo-Santo at Pisa. It is of a mounted knight, whose 
horse is represented in a phase almost exactly corre- 
163 
sponding with that of 9, series 46—a truthful, if not a 
judicious indication of the gallop. 
In the miniatures of Froissart may be found the horses 
at Ivarnak ; which also served as models to some 
illuminations of the “ Canterbury Tales,” in the Ellesmere 
Collection. 
Raffaelle, Titian, and many other Italian artists inclined 
toward the Byzantine modification ; not so, however, did 
their countryman Guido, nor Albert Durer, nor the greater 
number of German, Dutch, and other artists of the fifteenth, 
sixteenth, and seventeenth centuries, who for their inter¬ 
pretations resorted, without compunction, to the mono¬ 
tonous designs of their predecessors, whose mummies had 
been deposited on the banks of the Nile three thousand 
years before their copyists were born. 
Their rendition of the motion was endorsed by the 
mathematician Borelli, and by the veterinarian Newcastle ; 
so this ancient symbol of a conquering hero having been 
adopted as an emblem of the gallop, continued to be its 
one unvarying sign until it disappeared with the eighteenth 
century. 
About a hundred years ago, the artists of Europe, 
apparently with one accord, came to the conclusion that 
the rising body, with the bent, uplifted anteriors, and the 
contact of the hind feet with the ground, as indulged in by 
the ancient sculptors, was inconsistent with the correct 
interpretation of speed, and, as if by preconcerted agree¬ 
ment, there suddenly appeared from their various schools 
the conventional phase which attained the zenith of its 
absurdity in a well-known picture, by a celebrated animal 
