There is also doubt as to the distance to which a skilful athlete could hurl the diskos. An extravagant record of one hundred cubits is preserved in the writings of Philostratos. It is probable, however, that one hundred feet was an extraordinary throw and was exceeded only by the best athletes. While it is unlikely that the throws of renowned athletes were carelessly measured at the time, it is probable that many subsequent accounts were more or less exaggerated. It is well to bear in mind that the statue of Phaÿllos was greatly admired among the Greeks because that athlete had thrown the diskos ninety-five feet.
It is interesting in this connection to note that at the International Athletic Games, celebrated at Athens in 1896, the victor in the diskos-throwing competition made a record of 95.64 feet. The diskos used in this competition weighed 4¾ pounds. Although three skilful Greek athletes participated in this competition and exhibited a technique much superior to that of the foreign competitors, yet the victory was won by Mr. Garret, an American, who though never having handled the diskos before threw it to the above distance, thereby surpassing the best throw of M. Paraskevopoulos, the Greek champion, by .64 feet.
To return to the ancient contests, the Homeric heroes practised diskos-throwing without completely disrobing,—the upper garment only being laid aside. But at Olympia after the 15th Olympiad all clothing was dispensed with, and the advantage of entire nudity in this sport came to be clearly recognized. Nudity characterized, of course, the diskoboloi of the other great athletic festivals. Again, while the Homeric heroes did not anoint the body with oil, the athlete of historic times did not consider his preparation complete without it.
After roughening his hands and the diskos with earth, in order to grasp it more firmly and handle it more deftly, the diskobolos ascended an eminence, called the βαλβίς. When about to throw, the body of the diskobolos was bent quite a little to the right and forward. At the same time the head was bent to the right so far that it was possible for him to see the upper left side of his body. The right arm was now moved from below, first backward to the height of the shoulders, and then with a rapid movement forward it described a semi-circle, giving the diskos at once velocity and direction. In throwing the diskos, the diskobolos rested first on the right foot and then on the left. At the moment of hurling the diskos the left knee was slightly bent, while the other was kept backward. As the diskos left his hand he took one or more steps forward, like a person throwing a ball in a bowling alley.
Again we are indebted to the archæologist who has brought to the light of day not only statues but also vases and gems with their elaborate scenes of the diskobolos in various attitudes, for they reveal to us many facts about which the ancient historians are silent.
In classifying these works of art three different attitudes may be recognized:
(1) The diskobolos preparing to throw.
(2) The diskobolos in the act of throwing.
(3) The diskobolos having hurled the diskos and still following it with his eyes, or where he has already been declared victor.
In the Museo Pio Clementino is a statue representing an athlete about to hurl the diskos. In his left hand he is testing the weight of the diskos, but holding the right ready to receive it and hurl it into space. This statue was supposed by Visconti to be a copy of a diskobolos by Naukydes, the pupil of Polykleitos. Many other copies are also seen on vases and gems. On one of Hamilton’s vases the diskobolos holds the diskos in his right hand, supporting its weight in his left.