The downward swing is represented on a red-figured kylix found at Bologna (Fig. 65). The same motive is repeated in a number of red-figured vases, though it does not occur on earlier vases. The scene takes place in a gymnasium, as the strigils and other objects hanging on the walls show. A robed trainer in the centre is resting on his staff and directing the practice of two jumpers. The pillar and javelins on either side mark the bater from which the jumpers take off. The impression produced is of an exercise performed in time to music, or by word of command. Perhaps the Greek trainer taught his pupils jumping “by numbers” as the modern instructor teaches vaulting. At all events, the position shown is one essential to a jumper swinging the halteres before his spring, and is not a mere gymnastic exercise. Nor does the scene represent jumpers jumping from a height, as one writer has suggested. A jumper doing so in this position with weights would probably perform a somersault or land on his head. [Illustration: Fig. 66. R.-f. kylix. Bourguignon Coll. (_Arch. Zeit._, 1884, xvi.)] On another red-figured kylix we see an excellent picture of a jumper in mid-air (Fig. 66). The style is perfect: he has jumped high, and arms and legs are extended to the front and almost parallel. This vase also represents a practice-scene from the gymnasium. To the right stands a trainer ready to correct any mistake with his rod, and to the left another jumper is swinging his halteres in a somewhat curious style, to which we shall refer again. On the other side of the kylix we see another trainer, a diskobolos, and another jumper, while a pick lies on the ground. Immediately before alighting the jumper quickly forces his arms backwards, a movement which increases the length of the jump and enables him to land firmly and securely. This moment is admirably represented on a black-figured imitation Corinthian amphora in the British Museum (Fig. 67). The three lines underneath the jumper represent the jumps of other competitors, as has been already explained. A somewhat later moment is shown in an Etruscan wall-painting in a tomb at Chiusi.[552] The jumper is in the very act of alighting and his body is almost straight. [Illustration: Fig. 67. B.-f. amphora. British Museum, B. 48.]