At the turn in the wall blocking the end of the Axial Gallery there are two representations of horses – a horse head and the Upside-Down Horse.
The partial depiction is limited to the head, mane, neck, breast and the beginning of the back: two dots mark the belly. Like the other horses, the nostrils and mouth are absent.
The large-scale Upside-Down Horse, however, is complete. It follows the shape of the wall, an internal pillar of a meander. Its positioning is such that at no point can the horse be seen in its entirety. And yet, if we unfurl the image we can see that the proportions have been maintained. Its uniqueness lies in the depiction of a fall. Certain anatomical details, such as the turned-back ears and the dilated nostrils, strengthen this interpretation. The lack of a foot to the wall, thus suggesting a void, provides an example of how the support can be used to strengthen the expression of a scene.