[Illustration: Fig. 55. R.-f. kylix. Formerly in Berlin. (_J.H.S._ xxiii. p. 278.)]
All the various details of the race are pictured on the vases. On a red-figured vase by Euphronius in Paris we see the preparations for the race (Fig. 54). In the centre stands a robed official or trainer with his rod, and around him are various runners practising. One of them is putting on his armour, others, perhaps, are engaged in a preliminary canter such as is described by Statius.[517] The position at the start has already been described. From the number of shields kept for this race at Olympia it would seem that the field was usually a large one, as we should expect, and certain vases representing the turn indicate that whatever was the case in the unarmed diaulos the runners in armour raced, not each round his separate post, but all together round the central post, turning round it to the left. This critical moment is perhaps represented in the left-hand group on the Euphronius kylix, where the runner to the left has just completed the turn, and is starting on his way back, but has not yet got into his stride. Another vase shows a pair of runners—one checking his pace before the turn, and another in the very act of turning (Fig. 55). Their attitude seems to show that the turn took place round a pillar, and that the runners had not merely to toe the line. The most complete picture of the race is represented on a red-figured kylix in Berlin (Fig. 56). On one side we see a group of three. To the right a runner is in the position of the start; to the left another is almost in the act of swinging round the post at the turn. Both these runners move to the left; the central runner, who is already starting back, moves to the right. On the other side we see three runners in full race, one of whom is guilty of the fatal mistake of looking round. Is he protesting against his fellow-runner for some unfairness?
[Illustration: Fig. 56. R.-f. kylix. Berlin, 2307.]
[Illustration: Fig. 57. R.-f. kylix. British Museum, E. 818.]
Finally, on a red-figured vase in the British Museum, we see the finish of the race (Fig. 57). A bearded runner who has passed the winning post looks back in triumph on his rival, who, as he reaches the goal, seems to have thrown down his shield in disgust. The winner holds in his hand his helmet, which he has just taken off. This gesture, which occurs on a number of vases, seems to be symbolical of victory. What could be more natural at the finish of a 400 yards’ race over the hot sand and beneath the scorching sun of Olympia than to take off the heavy, cumbrous helmet? The action reminds one, too, of a cricketer who after a fine innings takes off his cap as he returns to the pavilion. Of the style of the runners little need be said; it resembles the style of the stade runner in the swinging of the arm, and for obvious reasons of symmetry the vase painter always makes the right arm work with the right leg, the left arm, which holds the shield, being generally stationary. The type of runner represented on Panathenaic vases is, as we should expect, sturdier and heavier than is shown in other races. The hoplites on one in the British Museum exhibit that length of body in comparison with length of leg which Philostratus mentions as a useful quality for this event, and we may further note that they run on a flat foot (Fig. 58). Yet in spite of such examples a foreign archeologist has maintained that the hoplitodromos advanced by a series of leaps and bounds, and has deduced therefrom the theory that jumping was the best training for this race, and that therefore the statue of a hoplitodromos practising, described by Pausanias, represented him not running, but jumping! The Greek athlete has certainly been hardly treated by some of his admirers.