For closely related examples compare Les chevaux de bronze dans l'art géométrique grec, Mainz and Geneva, 1989, pp. 179-180, and pl. 42, nos. 26 and 27 (the latter in the Metropolitan Museum of Art, New York, inv. no. 21.88.24), and p. 181, and pl. 43, no. 42 (National Archaeological Museum of Athens, inv. no. 16161). According to Zimmermann, some of the main stylistic features typical of horses produced in Corinth are tall neck as thin as sheet metal, incised mane projecting and tapering forward, head merging into curving ears, and trumpet-shaped muzzle.¹

Seán Hemingway writes that 'Among the most distinctive works of art produced in the Geometric period are the bronze statuettes of horses that have been found in many parts of the Greek world, especially at sanctuaries where they were offered to the gods as votive dedications […] A fine example in the Metropolitan’s collection, attributed to a Corinthian workshop, exhibits the clarity of form that makes the best of these small artworks among the finest bronze sculptures of the period. Similar to other examples of Geometric horses, this figure stands at attention with its ears pricked forward and has been reduced to its essence. The sculptor has emphasized its powerful hind legs and taut elegant body that stands on fine thin legs, the indication of the front knees inverted to balance symmetrically those of the hind legs. Its thick, strong neck with the arcing line of its mane seamlessly transitions to the carefully delineated head. The emphasis on the perfection of the horse’s body and its physical form is a notable forerunner of the predilection for the representation of the heroic nude male body that would become a feature of Greek Archaic sculpture.'<sup>2

1</sup> Zimmermann, Les chevaux de bronze dans l'art géométrique grec, Mainz and Geneva, 1989, p. 178
² Hemingway in Schertz and Stribling, eds., The Horse in Ancient Greek Art, Middleburg, 2017, p. 15