(hereafter mentioned as AJA). Also find Vermeule, (Greece in the Bronze Age, pp. 92, 101. 102) who locates Mylonas’

argument “powerful.”
14. A. S. Murray, A. H. Smith and H. B. Walters.
(hereafter cited as BCH). For other interpretations of http://termx.net see 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 Graphic 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
Competition maybe at funeral games. Pairs of confronted nude athletes that remind
us of the classical boxing scenes form the exclusive topic of a Mycenaean vase
1
(Fig.8). It is often implied that the scene depicts faced fighters. 5
A Geometric krater dated second quarter of the eighth century B.C. now in
the Metropolitan Museum of Art in New 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 suggests the existence of funeral games. M. Laurent gave examples of
tripods on Geometric vases and convincingly suggested that they were prizes in
boxing contests. 16 A Geometric cup from Athens (Fig.9) (now at the
Copenhagen Museum) represents funeral games. On one side there are two
naked guys preparing to stab each other with swords.” An Argive Geometric
15. Also see Arne Furumark, The Mycenaean
Pottery: Analysis and Categorization (Stockholm, 1941), pp. 437.443-435 who sees in this scene a boxing competition.
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 Development of the Tripod-Lebes, “Annual of the British
Gometrique,”BCH 25 (1901): 143-145.
17. The landscape reminds us of the single battle between Aias and Diomedes in the funeral games of Patroclos.
This occasion didn’t survive into historic Greece and it is realistic to suppose that it died out along with the hero
of the Geometric period. It’s understood from literary and archaeological sources that armed combats in the form of a
game were practiced in Mycenaean Greece. Fragments of frescoes from Pylos represent duels of men with

in the Composition Patterns of Mycenaean Pictorial Pottery from Cyprus,” BSA 60
(1965) PI. 60( 1).

Attic Geometric cup from Athens.
1975) fig. 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 thought to have a magical
Their athletes were considered to be shielded in some way by their nudity.21

Primitive warriors are occasionally signified nude for either “magic, i.e.
apotropaic purposes” or for “psychological shock effect” and “to ward off
still in existence among some current cultures. In New Guinea the naked
Papuan warrior of today wears a “codpiece” when armed for war; these
Cod pieces are made of straw painted in reddish or yellow and are definitely not
meant to hide the dick; on the contrary they’re just as sharply exhibitionistic as the European codpieces of the sixteenth century.23 Marco Polo was
21. Bonfante, Etruscon Apparel, p. 102.
22 Find Wilkinson, CIassical Attitudes to Modern Issues, pp. 83, 89; Bonfante, Efruscan Clothing, p. 102. For
references on the “apotropaic” phallus find Walter Burkert, Structure and History in Greek Mythology and Ritual
(Berkeley, 1979). p. 161, 1×3.
23. Tborkil Vanggaard, Phallos: A Symbol and its History in the Mule World (Awesome York, 1972), p. 166. On
the European cod piece of the sixteenth century the writer says: “While the suits of armour lost the slender
Sophistication which the Gothic ones had possessed a new excrescence grown below the breastplate-the cod piece.

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