his opponent from turning round, which movement would not have been possible if the latter had grasped him by the upper arm. In the group of wrestlers to the right we see an illustration of a body hold. Here a youthful athlete has lifted his bearded antagonist clear off his feet preliminary to throwing him. However, the one lifted from the ground has caught his foot around his opponent’s leg, which is an illustration of tripping. On a r.-f. kylix in the University of Pennsylvania Museum in Philadelphia (Fig. 50a),[1636] we see a body hold preparatory to the heave; here to the right are two youths wrestling, and to the left stands a bearded trainer with his rod. One wrestler has already lost his balance and is supporting himself with both hands on the ground, while the other with his left hand holds the other’s right arm down, and with his right prepares to throw him over his head. [Illustration: FIG. 49.—Wrestling Scenes. From Obverse of an Amphora, by Andokides. Museum of Berlin.] [Illustration: FIG. 5O.—Wrestling and Boxing Scenes. From a r.-f. Kylix. University of Pennsylvania Museum, Philadelphia.] [Illustration: FIG. 51.—Bronze Statues of Wrestlers. Museum of Naples.] From vase-paintings, then, we can see what positions the sculptor might have used in representing groups of wrestlers. For the positions of individual figures of wrestlers, we are guided by several statues and small bronzes. The preliminary position (σύστασις) seems to be best represented by the bronze statues of wrestling boys discovered at Herculaneum in 1754, and now in the Museum of Naples (Fig. 51).[1637] These figures have been variously interpreted as runners,[1638] diskoboloi,[1639] and wrestlers. Their attitude, bent forward with outstretched hands, implies the utmost expectancy. If they were runners, they would lean further forward; as they are standing, they could not begin to run without loss of time in raising the heels of the forward feet. If, on the other hand, they represented diskos-throwers at the moment just subsequent to the throw, their right feet would be advanced and not their left, in order to recover their balance, as we have seen above in considering Gardiner’s seventh position. The position of their arms, however, and the expression of their faces make it almost certain that they are wrestlers eagerly watching for an opening. The two statues certainly belong together, and may have been set up as antagonists in the villa in whose ruins they were found. F. Hauser was the first to show that the form of body and head in both was the same.[1640] While most critics believe that they are Hellenistic in origin, Bulle is certainly right in showing that the body ideal expressed is Lysippan—_i. e._, long legs and slender trunk—even if he goes too far in ascribing them to the master himself, basing his conclusion chiefly on the similarity of their ears with those of the _Apoxyomenos_ (Pl. 29). A good illustration of a hand or wrist grip