argument "convincing."
14. Excavations in Cyprus (London, 1900): p. 9 ;M. I. Davies,
'Thoughts on the Oresteia Before Aischylos, Bulletin de correspondance hellnique 93 (1969): 220,223 (quotations)
(hereafter mentioned as BCH). For other interpretations of this arena view ibid. pp. 214.223.
A fragment of Mycenaean chariot krater from Enkomi (c. 1300 B.C.). H. W. Catling and
A. Millett, "A study in the Composition Patterns of Mycenaean Pictorial Pottery from
Cyprus," BSA 60 (1965) PI. 58 (2). (Courtesy of the Trustees of the British Museum).
Faced with their arms extended (Fig.7). This scene represents a boxing
contest possibly at funeral games. Pairs of faced bare sportsmen that remind
us of the classical boxing scenes form the exclusive issue of a Mycenaean vase
1
(Fig.8). It's been implied that the scene depicts confronted boxers. 5
A Geometric krater dated second quarter of the eighth century B.C. now in
the Metropolitan Museum of Art in Fresh York shows a procession of chariots
and warriors. The warriors are bare, but each bears a helmet, two spears and a
sword. Archaeologists interpret this scene as funeral games or a procession
accompanying the body to the grave. The existence of a tripod in this krater
Instead signifies the existence of funeral games. M. Laurent gave examples of
tripods on Geometric vases and convincingly suggested that they were prizes in
boxing competitions. 16 A Geometric cup from Athens (Fig.9) (now at the
Copenhagen Museum) represents funeral games. On one side there are two
Nude men preparing to stab each other with swords." An Argive Geometric
15. Also see Arne Furumark, The Mycenaean
Pottery: Evaluation and Classification (Stockholm, 1941), pp. 437.443-435 who sees in this scene a boxing contest.
16. G. M. A. Richter, "Two Co1ossal Athenian and Geometric or Dipylon Vases in the Metropolitan Museum
of Art,"AJA I9 (1915): 389,390. PI. xxiii; S. Benton, "The Evolution of the Tripod-Lebes, "Annual of the British
School of Athens 35 (1934.35): 105, 108, 109; (hereafter mentioned as LISA); Marcel Laurent, "Sur un Vase de Style
Gometrique,"BCH 25 (1901): 143-145.
17. The landscape reminds us of the single combat between Aias and Diomedes in the funeral games of Patroclos.
This occasion did not survive into historical Greece and it really is realistic to suppose that it died out along with the hero
of the Geometric period. http://pumptanks.com/__media__/js/netsoltrademark.php?d=nudismpic.xyz is known from literary and archaeological sources that armed combats in the form of a
game were practiced in Mycenaean Greece. Fragments of frescoes from Pylos symbolize duels of men with
A Mycenaean Vase from Enkomi (c. 1300 B.C.). H. W. http://heilusedtrailer.biz/__media__/js/netsoltrademark.php?d=nudebeach.cc and A. Millett, "A study
in the Composition Patterns of Mycenaean Pictorial Pottery from Cyprus," BSA 60
(1965) PI. 60( 1).
Attic Geometric cup from Athens.
in Noel Robertson, ed., The Archaeology of Cyprus (Park Ridge, N.J.: Noyes Press,
1975) amount 17. (Courtesy of Noyes Press).
222
Source of Nudity in Greek Sports
An Argi've Geometric shard. Erich Pernice, "Geometrische Vase Aus Athen,"
fig. 10. (Courtesy of Gebr Mann Verlag GMbH).
The Greeks felt so strongly about nudity that it was presumed to have a bewitching
Their sportsmen were regarded as shielded in some way by their nudity.21
Crude warriors are sometimes represented bare for either "magic, i.e.
apotropaic goals" or for "psychological shock effect" and "to ward off
still in existence among some current cultures. In Fresh Guinea the nude
Papuan warrior of today wears a "codpiece" when equipped for war; these
Cod pieces are made of straw painted in red or yellow and are certainly not
meant to conceal the dick; on the contrary they're just as aggressively exhibitionistic as the European cod-pieces of the sixteenth century.23 Marco Polo was
21. Bonfante, Etruscon Clothing, p. 102.
22 Find Wilkinson, CIassical Approaches to Modern Issues, pp. 83, 89; Bonfante, Efruscan Dress, p. 102. For
references on the "apotropaic" phallus see Walter Burkert, Structure and History in Greek Mythology and Ritual
(Berkeley, 1979). p. 161, 1x3.
23. click , Phallos: A Symbol and its History in the Mule World (Fresh York, 1972), p. 166. On
the European codpiece of the sixteenth century the writer says: "While the suits of armour lost the slender
elegance which the Gothic ones had possessed a awesome excrescence grown below the breastplate-the cod piece.