The method of swinging the halteres and the positions depicted on the vases seem at first sight more suitable for a standing jump than a running jump, and the Greek jump has therefore been described usually as a standing jump. A representation of a jumper running with halteres occurs, however, on a number of vases both black-figured and red-figured.[553] The realism of the earlier vases despite their grotesqueness makes their evidence very valuable. The run as represented on these vases is by no means incompatible with the use of the halteres. It is not like the run of the modern long-jumper who uses his pace to increase his spring, but like that of the high-jumper, consisting of a few short, springy steps, intended to prepare the limbs and muscles for the final spring. A somewhat exaggerated picture of such a run is seen on a Panathenaic amphora at Leyden,[554] representing the pentathlon (Fig. 108), and a later picture of it occurs on the interior of a red-figured kylix by Euphronius (Fig. 68). A jumper running appears as the device of a shield on a kylix in the British Museum, representing a hoplitodromos arming for the race.[555] The run in all these cases is similar, and is quite reconcilable with the upward and downward swings of the halteres. The jumper starts with arms close to the side and takes a short run, holding the halteres to the front. As he nears the bater he checks himself in the manner represented in Fig. 64. As he does so he swings the halteres upwards, and then with a slow stride forwards swings them down again, and on the return swing takes off. Such a run is in accordance with the practice of modern professionals who use jumping weights.[556] [Illustration: Fig. 68. R.-f. kylix. (Klein, _Euphronius_, p. 306.)] It seems, then, that the Greeks certainly practised the running jump, and probably also the standing jump. In the pentathlon the somewhat doubtful evidence of the Panathenaic amphorae is in favour of a running jump.