been due not only to his nakedness but also to Thersites’ awful physical appearance which the poet described in detail. Thersites appears only once in the

Iliad and even though his existence is brief, it’s significant because he personifies unheroic, even antiheroic features, and these are reflected in his appearance. Homer and the later Greek poets and writers made a clear differentiation
between the ugly and the beautiful, the young and the old. Homer had a deep
appreciation for physical art and beauty as is evidenced in many passages
in his epics. Hector desired to fight with Achilles and die young and attractive
Rather than dying old and nasty.9 Tyrtaios believed that:
It is shocking when an old man lies on the front line before a youth: an old warrior
whose head is white and beard gray, exhaling his powerful soul into the dust
clutching his bloody genitals in his hands: his flesh naked. But in a young man all
is wonderful when he still possesses the shining bloom of lovely youth.10

that the Minoan athletes exercised in the nude. The close arty ties of Crete with
the Cyclades, generally, and Thera, in particular, appear to gain the acceptance of
many writers. The recent excavations of S. Marinatos casts awesome light upon the
relationship of Crete with Thera in ancient times. Numerous objects of art
found on the island of Thera show that the connections with Crete were quite close. An
Notable fresco from Thera, discovered in 1970, and outdated 1500 B.C.,
Signifies two children boxing. Marinatos is of the view that this fresco is “the
oldest existing example of art symbolizing the real anatomy of a child’s body.”12
Each kid wears one boxing glove on his right hand, and a blue cap upon which
curls of short and long hair are seemingly attached. Both kids, between eight
and ten years old , wear http://x-nudists.com/index.php/2016/05/26/my-first-public-nude-expericence-was-on-holiday-in-mallorca/ . Consequently Minoan Crete and the Cyclades offer
no alternative to the issue of the source of nudity in Greek athletics.
Mycenaean and Geometric Greek art clearly reveal that games in honour of
dead heroes were a common practice among the Greeks. Mycenaean, Geometric, and early Archaic warriors (Fig.4) are sometimes symbolized as exposed
in the parts below their breastplate. This exposure is especially noticeable
during funeral games and other religious ceremonies for nudisten family pics . On three tall
limestone slabs (stelai), found at Mycenae and dated 1600 B.C., are represented
chariot-races. All three stelai are decorated with chariot pictures. There’s one
charioteer (Fig.5) for each chariot and all three chariot motorists are nude and
unarmed, except for the sword. These chariot races were held as part of the
funeral ceremonies for a chieftain, and as such, were considered suitable themes
for ornamentation of stelai erected over graves. The so called Silver Siege Rhyton

Early Archaic Corinthian aryballos. K. Friis Johansen, Les Vases Sicyoniens (ParisCopenhagen, Edouard Victor, Pio Paul Brenner, 1923) PI. 34(2).
12. Find S. Marinates, Excavations at Them. Vols. I-IV (Athens 1967.1971),passim; E. Vermeule, Greece in
the Bronze Age (Chicago, 1964), pp. 77, 116. 120; J. Caskey, “Excavations in Keos, 1963,”Hesperia 33 (1964):
314; S. Marinates. “Life and Art in Prehistoric Thera.” Event of the British Academy 57 (1971): 358.363,
367; idem, “Les Egens et les Iles Gymnsiennes,” Bulletin de correspondance hellnique 95 (1971):6; idem
“Divine Kids,” Archaiologika Analekta ex Athenon 12 (1971): 407.408.

found at Mycenae shows on the fringe of the water three naked slingers stretched
Complete stature, act as a shielder for four or five nude archers as they pull their bows.
In an identical scene a naked warrior comes dashing past them. Additionally, the Siege
Rhyton shows six collapsed nude guys, who could be interpreted as the dead.13
A fragment of Mycenaean chariot krater from Enkomi (Cyprus) (Fig.6)
depicts a naked standing male figure who holds two variously interpreted
objects in his hands; in front of the nude guy there is a robed male figure who
wears a sword; in this composition small vases have been placed in the field; in
front of the robed guy there is a two horse chariot within which there are two
robed figures. It is often presumed that this scene depicts a funeral ceremony
and that the vases are prizes at funeral games, like the set of tripods on a
Dipylon vase. The most recent interpretation of this scene by M. I. Davies is
that the nude figure “may well be an average sportsman with what in classical
times were two of his common characteristics: a pickaxe and either a pointed
marking position or strigil.” Davies considers that this interpretation “would throw
some light upon the old-fashioned transmission of athletic customs and equipment from the Mycenaean into the classical interval.”14
A fragment of another krater from Enkomi represents two bare bodies

13. George Mylonas, “The Figured Mycenaean Stelai,”American Journal of Archaeology 55 (1951): 137-147

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