Gallop Research Articles

A Lesson From Chinese Medicine

THE OCCASION of our group's visit to the People's Republic of China grew out of the memory of Evans F. Carlson, a former Marine Corp general who garnered fame during World War II as the leader of Carlson's Raiders, an attack group that applied with devastating effects the tactics of the Chinese Communist guerrillas to Japanese defense positions. Carlson had spent considerable time in China during the 1930s studying the operations of the Eighth Route Army. He had earned their respect as an honest, open-minded man who was willing to learn under the most trying conditions. He eventually retired to Oregon, where he died in 1947. In his name our group of 22 was invited to China to increase understanding between two great peoples. A Blur of Impressions One of our hosts in Peking remarked that seeing China in three weeks was like studying flowers from a galloping horse. However,

China Today and her Ancient Treasures. By Joan Lebold Cohen and Jerome Alan Cohen. [New York: Harry N. Abrams, 1974. 399 pp. $25.00. £10·75.] - Faces of China: Tomorrow, Today, Yesterday. By Pat Fok and Ross Terrill. [London: Michael Joseph, 1974. 190 pp. £6·00.] - Glimpses of China from a Galloping Horse. By Norma Lundholm Djerassi. [New York and Oxford:

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.

Rider on a Galloping Horse

On June 4, 1976, George Ryga — as leader of a group of 24 Canadians — arrived in Peking for the start of a 19-day tour of China. In addition to Peking, the group visited Shihchiachuang, Linhsien County in Honanprovince, Anyang, Changsha, and Kwielin in the deep south of China, crossing the Shumchun Bridge into Hong Kong on June 22nd. Ryga recorded the following impressions of life and art in China for CTR. He is presently at work on a book-length treatment of his China experiences, also to be titled, Rider on a Galloping Horse.

Early Stage and Screen: A Two-Way Street

We all know-at least in general-what the screen has taken from the stage, and what it continues to take. Perhaps less well known is what the stage began borrowing from the screen, and at an earlier date than you might imagine. Most of this was considerably before 1914 when the playwright Elmer Rice marked official recognition of the individual form of a competitive medium by casting his hit play On Trial in the time-scheme of the present interrupted by flashbacks. This was an innovation in stage narrative, where time normally travels steadily forward. Nicholas Vardac, in his Stage to Screen, has made us conscious of certain elements of nineteenth century staging just waiting to be appropriated by film. the meantime, the stage did not hesitate to raid. Here are instances from around the turn of the century and later. Four examples in the use of depth of stage (or the illusion thereof) form a perfect progression to the take-over by film. 1896 not every stage was equipped to make such an accommodation as the Fairmont Auditorium in Kansas City did. A report on the Fairmont Stock Company's performance of Lyons Mail for four days in July of that year: In the mail coach scene a most realistic effect was obtained, which caused great applause. entire rear of the stage was opened and the real stage coach with four galloping horses came up in full view from over 500 feet to the rear.l Lincoln J. Carter's melodrama Heart of Chicago opened in that city late in September of 1896, which places it chronologically between the Lumieres film Arrival of the Mail Train and the Biograph Empire State Express. After more than a year of touring on the road, it appeared in New York in January, 1898. The scenic and mechanical effects are particularly strong.... climax of the fourth act, where a train is stopped at the very edge of the open draw by the presence of mind of the engineer's sweetheart in setting the danger signals in the nick of time, caused a furor of applause. effect is most deceiving as the engine is supposed to come head on from the rear of the stage. opening of the scene shows a long stretch of railroad track straight ahead. house is darkened while the

Gallop sounds in hypertension and myocardial ischaemia modified by respiration and other manoeuvres.

Gallop sounds in hypertension and myocardial ischaemia modified by respiration and other manoeuvres.

Modification of ventricular gallop rhythm induced by pooling of blood in the extremities.

Modification of ventricular gallop rhythm induced by pooling of blood in the extremities.

Two Notes on the Flying Gallop

I THE POSTURE illustrated by the horse in Fig. 1 is known in the history of art as the flying gallop. Nineteenth century painters and draftsmen in Europe and America very often represented galloping horses in this posture; such pictures are doubtless familiar to all readers of this journal. I believe it to be a fact that no horse ever approaches this posture while galloping over a level surface; the real posture occupied by a galloping horse when all four feet are in the air may be typified by Fig. 2. This fact was demonstrated by instantaneous photography during the 1870's. The illusion of the flying gallop had become so firmly fixed in the public mind by that time that some experienced observers are said to have doubted the accuracy of the photographs. In 1900 and 1901 Salamon Reinach traced the history of the flying gallop as an artistic concept in ancient, medieval, and modern times in a series of brilliant and profoundly learned articles 2 which appear to have colored all subsequent discussions of the subject. Reinach's long and elaborately documented thesis has been well summed up by Berthold Laufer: According to the ingenious investigations of this French archaeologist, this conventional motive appears neither in Assyria nor in Egypt, neither in the classical art of Greece nor in that of Etruria or Rome, nor in European art of the middle ages, the Renaissance, and the present age up to the time of the French Revolution (p. 11), when, in 1794, it appears for the first time in a popular engraving in England (p. 113). More than a millennium anterior to our era, how-

The British Political Scene Since the General Election

A general election has been aptly compared to an instantaneous photograph of a galloping horse. It is a static representation of a public opinion that is by its very essence perpetually changing, and a newly elected House of Commons has not yet met before it is in a sense out of date and no longer fully representative. Even if a general election photograph had permanent significance, it would be open to the criticism of inaccuracy at the time of taking. Readers of this Review are aware of the misleading character of the British electoral machine—of the fact that whenever more than two candidates contest a constituency, the one elected may very well represent but a fraction over a third of the electorate; so that election statistics show a serious discrepancy between the distribution of votes and the allocation of seats.On the eve of dissolution, the House of Commons comprised 400 Conservative, 162 Socialist, and 46 Liberal members, with seven Independents. The new House comprises 289 Socialists, 260 Conservatives, 59 Liberals, and seven Independents. This distribution of seats, we have said, does not accurately correspond to that of votes cast, since the Socialists polled 8,370,005 votes, the Conservatives 8,641,170, and the Liberals 5,295,308. The usual explanation of the discrepancy is that the Labor party had all the luck of the three-cornered contests in which a minority candidate was returned. This, however, happens to be false; that luck went to the Conservatives: of 313 successful “minority” candidates, 153 are Conservatives, 122 Socialists, and 38 Liberals; while of 291 seats held by a clear majority, Socialists have 166, Conservatives 105, and Liberals 20.

Gallop family

Gallop family

Gallop Family

Gallop Family

The Beetle in Motion

MUCH has been written on “the horse in motion.” Can any readers of NATURE supply me with references to published matter on the subject of hexapod progression?

A Rapid-View Instrument for Momentary Attitudes

THE wonderful photographs by Muybridge of the horse in motion and those by Maret of the bird on the wing induced me to attempt the construction of apparatus by which the otherwise unassisted eye could verify their results and catch other transient phases of rapid gesture. Its execution has proved unexpectedly easy, and the result is that even the rudest of the instruments I have used is sufficient for the former purpose; it will even show the wheel of a bicycle at full speed as a well-defined and apparently stationary object. This little apparatus may prove to be an important instrument of research in the hands of observers of beasts, birds and insects, and of physicists who investigate such subjects as the behaviour of fluids in motion.

Conventional Representation of the Horse in Motion

Conventional Representation of the Horse in Motion

The Horse in Motion

The Horse in Motion

The Horse in Motion

IN NATURE, vol. xxv. p. 591, you notice the publication of a work entitled “The Horse in Motion,” by Dr. Stillman, and remark: “the following extract from Mr. Stanford's preface shows the exact part taken by each of those concerned in the investigations.” Will you permit me to say, if the subsequently quoted “extract” from Mr. Stanford's preface is suffered to pass uncontradicted, it will do me a great injustice and irreparable injury. At the suggestion of a gentleman, now residing in San Francisco, Mr. Stanford asked me if it was possible to photograph a favourite horse of his at full speed. I invented the means employed, submitted the result to Mr. Stanford, and accomplished the work for his private gratification, without remuneration. I subsequently suggested, invented, and patented the more elaborate system of investigation, Mr. Stanford paying the actual necessary disbursements, exclusive of the value of my time, or my personal expenses. I patented the apparatus and copyrighted the resulting photographs for my own exclusive benefit. Upon the completion of the work Mr. Stanford presented me with the apparatus. Never having asked or received any payment for the photographs, other than as mentioned, I accepted this as a voluntary gift; the apparatus under my patents being worthless for use to any one but myself. These are the facts; and on the bases of these I am preparing to assert my rights.

The Paces of the Horse

I VENTURE to offer the following illustration of the effect produced on the eye by a horse galloping.

A Study in Locomotion 1

III. IT would be very interesting to pass in review the principal epochs of art and trace out the manner representing horses in motion in various periods of progress or decadence. But such a study would fail to realise its full value unless carried out by an artist.