216 VICTOR STATUES REPRESENTED IN MOTION. 
Philostratos says that the jump was the most difficult part of the 
pentathlon.! It neverexisted as an independent competition despite its 
popularity in Greece. This popularity is attested by the frequency 
wtih which it is depicted on vases from the sixth century B. C. onward. 
Here the jumperis regularly shown with weights, and we can assume that 
many pentathlete statues were so represented, the sculptor ordinarily 
copying the kind of weight which was in use in his own age. While 
Philostratos in his day thought that the use of weights was merely to aid 
in exercise, Aristotle long before had rightly understood that the 
jumper could make a longer jump with than without them,? a fact 
easily proved by the feats of modern jumpers. While the modern 
record for the running broad jump is 25 feet 3 inches,’ an English 
athlete jumped 29 feet 7 inches with the use of 5-pound weights,‘ 
and a German officer in full uniform jumped 23 feet from a spring- 
board.’ The recorded jumps of Phayllos at Delphi and of Chionis at 
Olympia, the former 55 feet and the latter 52, can not, however, be 
explained as ordinary broad jumps, even if we assume that the Greek 
jumper was far superior to the modern one. Such jumps would be im- 
possible even with springboards or raised platforms, and we have no 
evidence that the Greeks used such devices. We might explain them 
on the theory of triple jumps*—though the difficulty of such a solution 
is very great—or simply as mistakes in the records. Thus the record of 
Phayllos is found in a late epigram, in which this athlete is also said 
to have thrown the diskos 105 feet.7. That of Chionis is, to be sure, 
given by Africanus. But itis more than probable that v6’ (52) of his 
record should read x6’ (22), since the Armenian Latin text reads duos 
et viginti cubitus.® 
Vase-paintings tell us how the halteres were used.° ‘The jumper 
swung them forward and upward until they were level with or higher 
than the head; then he brought them down, bending the body for- 
ward until the hands were below the knees, the jump taking place on 
the return swing. We find the preliminary swing represented most 
commonly on the vases;1! we also see on them the top of the upward 
1Ch. 55. 2De Incessu anim., Ch. 3 (p. 705a). 
3Made by E. O. Gourdin, in Cambridge, U. S. A., July 23, 1921. 
4See J. H. S., II, 1881, p. 218, n. 1; the jump took place at Chester in 1854; here is also 
recorded a standing jump of 13 ft. 7 in. with 23-lb. weights, at Manchester in 1875. 
5Mentioned by Pinder, Ueber d. Fuenfkampf d. Hellenen (quoted by Juethner, p. 16). 
6So Fedde, p. 22. A record of 49 ft. 3 in. (hop, skip, and jump) was made at Harwich in 1861: 
ESF UN nS ered aia B 
7A. Pl., 297; cf. schol. on Aristophanes, Acharn., 213, and other evidence gathered by Gar- 
diner, in J.H.S., XXIV, 1904, pp. 70 f. 
SRutgers, p. 11. 
°On the controversy about these jumps, see Gardiner, Fedde, ll. cc., and A. 4., 1900, pp. 104-6 
(Kueppers, Diels, and Stengel). On Greek jumping, see also Krause, I, pp. 383 f.; Pinder, pp. 
108 f.; Fedde, pp. 14 f.; Grasberger, Erziehung und Unterricht, I, pp. 303 f.; Girard, L’ éducation 
athénienne, 1889, pp. 200 f.; etc. 10See Gardiner’s summary in J. H. S., XXIV, 1904, p. 189. 
1f, g.. on ar.-f. pelike in the British Museum: B. M. Vases, E 427; J. H. S., XXIV, 1904, 
p. 185, fig. 6; etc. 
