roads, till we came to a breach or chasm in the valley, from which we saw our friend the White Horse once more. At least, we thought it was our friend the White Horse; but after a little inquiry we discovered to our astonishment that it was another friend and another horse. Along the leaning flanks of the same fair valley there was (it seemed) another white horse; as rude and as clean, as ancient and as modern, as the first. This, at least, I thought must be the aboriginal White Horse of Alfred, which I had always heard associated with his name. And yet before we had driven into Wantage and seen King Alfred's quaint grey statue in the sun, we had seen yet a third white horse. And the third white horse was so hopelessly unlike a horse that we were sure that it was genuine. The final and original white horse, the white horse of the White Horse Vale, has that big, babyish quality that truly belongs to our remotest ancestors. It really has the prehistoric, preposterous quality of Zulu or New Zealand native drawings. This at least was surely made by our fathers when they were barely men; long before they were civilized men.
But why was it made? Why did barbarians take so much trouble to make a horse nearly as big as a hamlet; a horse who could bear no hunter, who could drag no load? What was this titanic,
