The most interesting discovery at Olympia was that of the actual lines
which marked the start and finish of the races (Fig. 41). These lines
consist of stone sills about 18 inches wide extending nearly the whole
breadth of the course. Each sill is divided at intervals of about 4 feet
by square sockets obviously intended to hold posts. Between each pair of
sockets are two parallel grooves cut in stone about 7 inches apart.
Their object was clearly to mark the place for the runners’ feet. There
are twenty of these sections in the western sill and twenty-one in the
eastern sill, one of which is, however, a short one. Each section
afforded room for a single runner. The western sill is 11 metres from
the end of the stadium, the eastern only 9-1/2. The distance between the
two sills is 192·27 metres, which gives ·32045 as the length of the
Olympic foot. The Olympic foot was said to have been determined by
Heracles, who measured out the stadium with his own feet. Hence the
stadium at Olympia is slightly longer than other stadia on the
mainland.[437]
The discovery of similar stone sills in the gymnasium at Olympia, and
subsequently at Delphi and Epidaurus, makes it probable that they were
universally employed in Greek stadia, though it is impossible definitely
to fix the date at which they replaced the earlier custom of marking the
lines in the sand. The reason why the lines are alike at either end is
obvious. In the stade-race the finish was at the opposite end from the
start, in the diaulos and other races consisting of an even number of
stades the runners finished where they started. Hence, as it was clearly
desirable that all races should finish at the same point, it was
necessary to have starting lines at both ends. At Olympia it seems
probable that the finish was at the eastern end of the course. Here were
the seats of the Hellanodicae, and opposite them was the seat of the
priestess of Demeter Chamyne, the only married woman, possibly the only
woman, who was allowed to be a spectator at the Olympia.
Public-domain text, read in full here on John Shaqi.
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