helped by this forward movement. The other method requires room only for one step, and the pendulum-like swing of the left leg, first forward, then back, and finally forward again, seems at least equally effective as helping the swing of the body, like the preliminary waggle of a golf club. Both methods are effective and it seems probable from the vases that both were employed. The former method is suggested by Fig. 79, the latter by Fig. 78. [Illustration: Fig. 78. R.-f. krater of Amasis. Corneto.] [Illustration: Fig. 79. R.-f. pelike, in British Museum, E. 395.] [Illustration: Fig. 80. Interior of Fig. 66.] An examination of the second type with the diskos flat in the right hand confirms these conclusions. This type is an excellent illustration of differences due to artistic causes. The attitude of the body varies from the stiff upright pose of archaic bronzes and vases to the graceful curves of the stooping figure on a vase assigned to Euphronius (Fig. 80). Sometimes the body is inclined forward, sometimes it is upright, sometimes it is thrown well back. The essential point, however, is the position of the arms, and this is always constant. The diskos rests against the right forearm, and the left hand is raised above the head or stretched to the front. There can be little doubt that in all these cases the moment represented is the backward swing of the diskos. The position of the right hand turned outward is necessary to prevent the diskos from slipping while the left arm is raised to balance the body as it swings. The best example of this type is a beautiful little bronze, exhibited at the Burlington Fine Arts Club in 1903 (Fig. 81). Here the right foot is well advanced, the right knee bent, and the weight, as in Myron’s statue, rests entirely on the right leg, the left foot touching the ground only with the toes. This is the normal position of the right leg: but just as in the first type when the normal position was with the left foot forward we found numerous exceptions with the right foot advanced, so here the left foot is occasionally in front.[583] This variation points to a variation in the style of throwing. A thrower who has advanced the left foot in the forward swing, must, as we have seen, either advance the right foot, or draw back the left to reach the position of Myron’s statue. If he draws back the left foot, he may let go the diskos with the left hand first, in which case we have the diskos swinging back in the right hand and the left leg still advanced. If, however, he draws back the left leg first, he will for a moment be still holding the diskos in both hands but the right leg will be still advanced, and it is noticeable that on vases which show this attitude, the left foot rests very lightly on the ground and the body is slightly inclined forward. The precise moment at which the change takes place is just one of those details in which we should expect to find a difference in style.