(hereafter mentioned as AJA). Additionally see Vermeule, (Greece in the Bronze Age, pp. 92, 101. 102) who finds Mylonas’

argument “persuasive.”
14. A. S. Murray, A. H. Smith and H. B. Walters. Excavations in Cyprus (London, 1900): p. 9 ;M. I. Davies,
‘Thoughts on the Oresteia Before Aischylos, Bulletin de correspondance hellnique 93 (1969): 220,223 (quotes)
(hereafter mentioned as BCH). For other interpretations of this landscape 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 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 potentially at funeral games. Pairs of confronted nude athletes that remind
us of the classical boxing scenes form the sole topic of a Mycenaean vase
(Fig.8). It has been implied that the scene depicts confronted fighters. 5
A Geometric krater dated second quarter of the eighth century B.C. now in
the Metropolitan Museum of Art in New York reveals a procession of chariots
and warriors. The warriors are nude, 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 presence of a tripod in this krater
rather indicates the existence of funeral games. M. Laurent gave examples of
tripods on Geometric vases and convincingly indicated 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. Murray, Smith and Walters, Excavarions in Cyprus, pp. 9, 37. 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. http://beachnymphs.com/video-pin/pin-nude-beach-for-you.php . 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 scene reminds us of the single battle between Aias and Diomedes in the funeral games of Patroclos.
This occasion did not survive into historical Greece and it truly 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 guys with

A Mycenaean Vase 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. 60( 1). (Courtesy of the Trustees of the British Museum).

Attic Geometric cup from Athens. Peter P. Kahane,” The Cesnola Krater from Kourion,”
in Noel Robertson, ed., The Archaeology of http://nudiststeen.com/tube/nudist/wild-sexy-grandma-nude-stories.php (Park Ridge, N.J.: Noyes Press,
1975) fig. 17. (Courtesy of Noyes Press).


Origin of Nudity in Greek Sport

An Argi’ve Geometric shard. Erich Pernice, “Geometrische Vase Aus Athen,”

Mitteilungen des Deutschen Archailogischen Instituts, Athenishe Abteilung 17 (1892)
fig. 10. (Courtesy of Gebr Mann Verlag GMbH).
The Greeks felt so strongly about nudity that it was thought to have a bewitching
effect (c.f. the apotropaic use of the phallos, gestures against the evil eye, etc.).
Their sportsmen were considered to be shielded somehow by their nudity.21

Primitive warriors are sometimes symbolized bare for either “magic, i.e.
apotropaic goals” or for “psychological shock effect” and “to ward off
danger.”22 The apotropaic powers attributed to the male sexual organ is a belief
still in existence among some present cultures. In Fresh Guinea the nude
Papuan warrior of today wears a “cod piece” when armed for warfare; these
Cod pieces are made of straw painted in reddish or yellow and are undoubtedly not
meant to conceal the manhood; on the contrary they’re just as vigorously exhibitionistic as the European cod pieces of the sixteenth century.23 Marco Polo was
21. Bonfante, Etruscon Clothing, p. 102.
22 See 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 (Fresh York, 1972), p. 166. On
the European codpiece of the sixteenth century the writer says: “While the suits of armour lost the slender
Sophistication which the Gothic ones had possessed a brand new excrescence grown below the breastplate-the codpiece.