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 scene view ibid. pp. 214.223.




A fragment of Mycenaean chariot krater from Enkomi (c. 1300 B.C.). H. W. Catling and
A. https://www.fhwa.dot.gov/reauthorization/reauexit.cfm?link=https://youngnudist.site , "A study in the Composition Patterns of Mycenaean Graphic Pottery from
Cyprus," BSA 60 (1965) PI. 58 (2).

Faced with their arms extended (Fig.7). beach party represents a boxing
Competition potentially at funeral games. Pairs of confronted nude sportsmen that remind
us of the classical boxing scenes form the sole topic of a Mycenaean vase
1
(Fig.8). It has been indicated that the scene depicts faced boxers. 5
the Metropolitan Museum of Art in Fresh York shows a procession of chariots
and warriors. The warriors are naked, 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
rather indicates the existence of funeral games. M. https://lexsrv3.nlm.nih.gov/fdse/search/search.pl?Match=0&Realm=All&Terms=https://beachnude.xyz gave examples of
tripods on Geometric vases and convincingly implied 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. Murray, Smith and Walters, Excavarions in Cyprus, pp. 9, 37. Additionally see Arne Furumark, The Mycenaean
Pottery: Analysis and Categorization (Stockholm, 1941), pp. 437.443-435 who sees in this scene a boxing contest.
16.
of Art,"AJA I9 (1915): 389,390. PI. xxiii; S. Benton, "The Development 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 combat between Aias and Diomedes in the funeral games of Patroclos.
This occasion did not survive into historic Greece and it really is practical to assume that it died out along with the hero
of the Geometric period. It is known from literary and archaeological sources that armed combats in the kind of a
game were practiced in Mycenaean Greece. Fragments of frescoes from Pylos represent duels of men with




H. W. Catling and A. Millett, "A study
in the Composition Patterns of Mycenaean Pictorial Pottery from Cyprus," BSA 60
(1965) PI. 60( 1).

Loft Geometric cup from Athens. Peter P. https://weblib.lib.umt.edu/redirect/proxyselect.php?url=https://purenudism.buzz ," The Cesnola Krater from Kourion,"
in Noel Robertson, ed., The Archaeology of Cyprus (Park Ridge, N.J.: Noyes Press,
1975) amount 17. (Courtesy of Noyes Press).

222

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.
The Greeks felt so strongly about nudity that it was thought to have a magic
effect (c.f. the apotropaic use of the phallos, gestures against the evil eye, etc.).
Their sportsmen were believed to be protected in some way by their nudity.21

Primitive warriors are sometimes symbolized nude for either "magic, i.e.
apotropaic purposes" or for "psychological shock effect" and "to ward off
Risk."22 The apotropaic powers attributed to the male sexual organ is a belief
still in existence among some present cultures. In New Guinea the nude
Papuan warrior of today wears a "cod-piece" when equipped for war; these
cod-pieces are made of straw painted in reddish or yellow and are definitely not
meant to hide the penis; 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 Dress, p. 102.
22 See Wilkinson, CIassical Attitudes to Modern Issues, pp. 83, 89; Bonfante, Efruscan Apparel, 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. Tborkil Vanggaard, Phallos: A Symbol and its History in the Mule World (Fresh York, 1972), p. 166. On
the European cod-piece 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 developed below the breastplate-the cod-piece.