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Updated: May 1, 2025
It may be useful to those interested in this subject to know that copies of Muybridge's large series of instantaneous photographs of animal and human subjects in movement are preserved both in the library of the Royal Academy of Arts in London and in the Radcliffe Library at Oxford. Martin Duncan. Take first the case of the low-lying moon near the horizon as contrasted with the high moon.
Figs. 2 and 3. From Muybridge's instantaneous photograph of a fox-terrier, showing the probable origin of the pose of the "flying gallop" transferred from the dog to other animals by the Mycenæans. The stretched-leg prance used to represent the gallop by Carle Vernet in 1760. The stretched-leg prance used by early Egyptian artists. Flying Gallop. Flying Gallop. Galloping Griffon. Flying Gallop.
He appears to be sitting in a most uncomfortable way on the rope over which he is projecting himself. A very fine attitude is fixed for the artist in one of Muybridge's instantaneous series of the "bowler" the cricket "bowler."
The "prancing" attitude of the horses of the frieze of the Parthenon was probably not intended to represent rapid movement at all. The "stretched-leg" pose and the "flex-leg" pose are, as a matter of fact, phases of "the jump," and are definitely recorded in Muybridge's instantaneous photographs of the jumping horse, but have no existence in "galloping" nor in any rapid running of the horse.
Repeated photographs were obtained at intervals of a fraction of a second, giving a series of fifteen or twenty pictures of the moving animal. The length of exposure for each picture was one-fortieth of a second or less, and the interval between successive pictures was about the same. Muybridge's great difficulty had been to invent a shutter which would act rapidly enough.
The up-lifted right arm, the curve outwards of the whole figure on the right side, and the free hang of the right leg make a most effective pose for a sculptor to reproduce. Among the most remarkable results obtained in Muybridge's series are the stages of the growth or development of strong "expression" in the face.
He was mistaken, as Muybridge's photograph giving side and back view of a galloping fox-terrier amply demonstrates. It is quite in accordance with probability that the early Mycenæan artists, having seen how the dog gallops, erroneously proceeded to put the galloping horse, and all other animals which they wished "to make gallop," into the same position.
A string of others, headed by a lady, were tearing across a meadow bounded by a little brook, and beyond that streamed the hounds following the invisible fox. It was like one of Muybridge's instantaneous photographs of "The Horse in Motion," for the moment that it lasted; and Katy put it away in her memory, distinct and brilliant, as she might a real picture.
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