A victor statue of a diskobolos might conceivably have taken any one of these seven positions. We have already considered the two statues, the _Standing Diskobolos_ of Naukydes in the Vatican (Pl. 6) and that of Myron (Pls. 22, 23, and Figs. 34, 35), the two most important works in sculpture to illustrate positions of the throw. The statue of Naukydes is not taking aim, as Juethner maintains, nor looking down the course. The head is inclined a little to the right and downwards, and the eyes are directed to the ground only a short distance away, thus measuring the distance the left foot is to be advanced, when the diskos is finally swung forward for the cast, which takes place off the left and not off the right foot. The right forearm is rightly restored, as it thus appears on bronzes which imitate this stance.[1575] A different stance is shown in a fine bronze statuette in the Metropolitan Museum (Fig. 46),[1576] dating from about 480 B. C. This little masterpiece of the transition period of Attic art, still disclosing archaic traits, represents a diskobolos standing firmly on both legs, the right being slightly advanced, and holding with the left hand the diskos level with the head. That he is preparing for intense action is seen by the way in which the toes catch the ground. Though the right arm is broken off from below the shoulder, we can infer from vase-paintings which show diskoboloi in the same position[1577] that it was lowered and bent at the elbow and the hand left open. From this position the diskos will be raised high above the head with both hands, as in a bronze in Athens,[1578] which illustrates Gardiner’s second position. The movement is carried a little further—showing the moment of transition to the downward swing or third position—in a fifth-century B. C. bronze in the British Museum.[1579] Here a nude, beardless athlete is represented standing with the right foot advanced and holding the diskos in both hands before him above the head. The right hand grasps the quoit underneath and the left at the top.[1580] The third position is well illustrated by the tiny archaic bronze on the cover of a lebes in the British Museum,[1581] which represents a nude and beardless youth standing with the left foot advanced and with the left hand raised, while the right holds the diskos. Almost the same pose is also seen in a small bronze in the Antiquarium, Berlin.[1582]