In his careful attempt at reconstructing the method of casting the diskos, E. N. Gardiner has distinguished seven different positions, which are illustrated by the monuments.[1565] He shows that while the swing of the quoit was always the same, _i. e._, in a vertical and not in a horizontal arc, and the throw was invariably made from a position like that of Myron’s statue, the preliminary and certain other movements varied. It will be well, before discussing representations of the diskos-thrower in sculpture, very briefly to recapitulate his summary of positions, using the evidence which he and others have collected. First, the preliminary position or stance, with three variations: either the position of the _Standing Diskobolos_ of the Vatican (Pl. 6), which occurs in bronzes, but not on vases; or the position in which the diskobolos raises the quoit with the left hand level with the shoulder, which occurs on vase-paintings;[1566] or that in which the diskos is held outwards in both hands level with the waist.[1567] From any of these stance positions, either with or without change of feet, we reach the second position, in which the diskos is raised in both hands and extended either horizontally to the front and level with the head,[1568] or held above the head.[1569] Thirdly the diskos is swung downwards and rests upon the right forearm, with either foot forward.[1570] This position leads up to that of Myron’s statue, in which the diskos is swung as far back as possible (Pls. 22, 23, and Figs. 34, 35).[1571] The fifth position is the beginning of the forward swing, when the body is straightened.[1572] As the diskos swings downwards and the left foot advances, the sixth position is reached.[1573] Lastly the right foot is advanced after the diskos is cast.[1574] [Illustration: FIG. 46.—Bronze Statuette of a _Diskobolos_. Metropolitan Museum, New York.]