In criticizing these drawings we must not forget that the subjects on the Panathenaic vases are usually treated in a conventional manner. The earliest of these vases are archaic work of the sixth century, the latest archaistic work of the fourth century, and, as is usual in objects connected with religion, the conventions of the earlier period are preserved in the later. Now, if we make allowance for the limitations of the early artist, and the extreme difficulty of the subject, we shall find that the artists have succeeded in reproducing the essential points of a sprint. The runners run well on the ball of the foot, the heel somewhat higher than in the long race; their knees are well raised and their bodies erect. The movement of the arms seems exaggerated at first, till we compare the vase paintings with snapshot photographs of a short-distance race. Then we see that every sprinter uses his arms. The Americans have certainly reduced running to a science, and I will therefore quote a passage from a well-known American trainer and athlete: “The arms are of great service in sprinting, and the importance of this fact is generally under-estimated. They are used in _bent form and moved almost straight forward and back_, not sideways across the body.”[498] This is just what we see on the vases. Why, then, is the effect grotesque? Because the vase painter has made the right arm move with the right leg and _vice versa_, whereas, in reality, the right arm moves with the left leg. A similar mistake may often be observed in the drawings of horses. In both cases the mistake is due partly to the difficulty of representing the action accurately; partly, and this is true especially of the finer red-figured vases, to artistic causes. A side view of a sprinter always looks awkward, and the artist therefore tries to improve upon nature. But that the Greek really used his arms just as we do is shown by the fact that on some of the later Panathenaic vases the arms are represented quite correctly (Fig. 53), and occasionally even on sixth-century vases, as in the leading runner of Fig. 52.[499] The grotesqueness of movement is enhanced by the stiff manner in which the fingers are outstretched—another purely artistic peculiarity, which we need not therefore, as a popular lecturer did recently, hold up as an example for the imitation of modern athletes. As a matter of fact, the action of the Greek sprinter is not so violent as that of the modern, and this is natural, seeing that the Greeks had no race shorter than 200 yards.