JUMPERS. ~ 2h 
swing,’ the bottom of the downward swing,? the jumper in midair,? 
and the moment just before alighting.* The act of landing is seen 
on an Etruscan wall-painting from a tomb at Chiusi.2 Running 
jumps are the ones most commonly depicted.® 
The representation of the jump, therefore, was specially adapted to 
the vase-painter and not to the sculptor. If any movement in the 
jump could have been represented to advantage in sculpture, it would 
have been the early position in which the weights were swung forward 
and upwards. This is the one represented on an incised bronze diskos 
from Sicily now in the British Museum,’ where an athlete, with his right 
leg drawn back for the spring, is holding the weights in his outstretched 
hands. A small finely modelled bronze statuette dating from the mid- 
dle of the fifth century B. C., in the Metropolitan Museum, New York, 
may represent a jumper either just taking off, or perhaps just finishing 
the jump.® ‘The athlete is standing with his left foot advanced, his 
knees bent back, and his body leaning forward, and is holding both arms 
in front, the palms downwards. Such a concentrated attitude reminds 
us strongly of Myron, under whose influence this statuette must have 
been made. Some have interpreted it as the representation of a diver, 
though the hands seem to be held too far apart and the body wrongly 
poised for that position, as we see it in a statuette of a diver from Peru- 
gia.° More likely a jumper is intended, as the attitude is very similar 
to that depicted on several vases.'!° However, as the jumper has no 
1F. g.,onar.-f. krater in Copenhagen (?): dnnali, XVIII, 1846, Pl. M; Gardiner, p. 303, fig. 64; 
J. H.S.,1. c., p. 185, fig. 7 (left-hand figure). 
2. g..onar.-f. kylix in Bologna: J. H. S., l.c., p. 186, fig. 8; Gardiner, p. 304, fig.65; Juethner, 
fig. 16; on interior of an early r.-f. vase, signed by Chelis, in the Louvre, G 15: Pottier, Vases an- 
tiques, Pl. 89; Perrot-Chipiez, X, p. 366, fig. 211. 
3. g.. on ar.-f. kylix from Orvieto, formerly in the Bourguignon Coll. in Naples, but now in 
Boston: A. Z., XLII, 1884, p. 243 (Meier), Pl. XVI, 2b; Reinach, Rép. vases peints, I, p. 454, 
1, 5, 6; J. H.S., l. c., p. 183, fig. 3; Gardiner, p. 305, fig. 66 (interior showing diskobolos, ibid., 
p. 326, fig. 80= J. H. S., XXVII, 1907, p. 20, fig. 9); Juethner, p. 15, fig. 14; Girard, L’éduc. 
athén., pp. 201, 207, figs. 22 and 27; Hoppin, Hbk. Attic r.-f. Vases, p. 423, no. 44; Dar.-Sagl., 
Pte tip 3091, DV; 2, p. 1055, fig. 6083. 
4f. g., on a b.-f. imitation Corinthian amphora in the British Museum: B. M. Vases, B 48; 
middle figure is given in J. H. S., 1. c., p. 183, fig. 4; Gardiner, p. 306, fig. 67; Juethner, fig. 15 
(three figures). 5Inghirami, Mus. Chius., Pl. CXXV (quoted by Gardiner). 
6. g.,on a Panathenaic amphora in Leyden: J. H. S., XXVII, 1907 p. 260; on a later r.-f. 
kylix of Euphronios: Klein, Euphronios*, 1887, p. 306; J. H. S., XXIV, 1904, p. 188, fig. 9; 
Gardiner, p. 307, fig. 68. 
7B. M. Bronzes, 248, p. 26, fig. 10 (right); Gaz. arch., 1875, Pl. XX XV, p. 131; Schreiber, Bilder- 
atlas, Pl. XXII, no. 15; Murray, Hbk. Gk. Archeology, 1892, p. 123, fig. 53. The diskosis 8.25 inches 
in diameter and is to be dated about 500 B. C. On the other side is represented a jumper, with 
measuring cord in his hands, measuring his leap. A similar figure appears on a metrological 
relief at Oxford: J. H. S., IV, 1883, Pl. XXXV, p. 335. 
8Richter, Greek, Etruscan, and Roman Bronzes, no. 81, fig. on p. 54 (three views); Burlington 
Fine Arts Club, Cat. Anc. Gk. Art, 1904, p. 46, no. 37; Reinach, Rép., IV, 345, 9. 
*Reinach, Rép., II, 2, 543, 7 (quoted by Miss Richter). 
10F. g., the jumper with halteres on the British Museum pelike already mentioned, E 427; see 
p. 216, n. 10; a still closer resemblance is found in a jumper without halteres on a r.-f. pelike 
discussed in J. H. S., XXIII, 1903, p. 272; Gardiner, p. 309, fig. 69. 
