'''' '' '' THE MEVROPOLTTAN. MUSEUM OF ART. SSS 6666666556655 55555E55 S15 15151515 GREEK “ATHLETICS NEW YORK 1925 '' BY COPYRIGHT, 1925, THE METROPOLITAN MUSEUM OF ART '' From a stamnos, Bibliothéque Nationale, Paris, No. 252 GREEK ATHLETES Athletics held a place in the life and education of the Greek people from the earliest times, and played an important part in their history. The great athletic festivals served to draw together the little city states, too often at variance with one another; while the love of outdoor life created a military strength without which the Greek cities might soon have lost their inde- pendence. The vitality of their athletic spirit is shown by the presence of Greek games on track and field today. We are fortunately able to understand quite clearly the’ different athletic events, for Greek artists found much of their inspiration in scenes of the gymnasium and palaestra. Vases, our most important record, reflect this phase of life in great detail, while bronze and marble sculptures, gems and coins also add to our knowledge. In the following pages the Greek pentathlon, consisting of running, jumping, throwing the diskos and the javelin, and wrestling, as well as the other common events, such as boxing and horse-racing, are illustrated by photographs and drawings taken from objects in the Metro- politan Museum of Art and other collections. Detailed accounts of Greek athletics will be found in the fol- lowing books: Krause, J. H., Die Gymnastik und Agonistik der Hellenen, Leipzig, 1841; Jiithner, J., Antike Turngerathe, Vienna, 1896; Gardiner, E. N.,* Greek Athletic Sports and Fes- tivals, London, 1910; Greek and Roman Daily Life (British Museum), London, 1920, Chapter VI; Van Hook, LaRue, Greek Life and Thought, New York, 1923, Chapter VII; McClees, Helen, The Daily Life of the Greeks and Romans, New York, 1924, Chapter |X. CHRISTINE ALEXANDER. *See also his series of articles in Journal of Hellenic Studies, vols. XXIII ff. 3 ''SIS 1S 1S 1S 151515 1S1S1S 1815151515 1S 1S 181515 16151515 Sls Sls 1S S115 SIS IS IS IS IS ISS IS IS SIS IS as oS SST PALAESTRA AND GYMNASIUM Properly speaking, the palaestra was a place for wrestling; the gymnasium, for general activities. But as a palaestra was usually attached to the gymnasium the two words were almost inter- changeable. The place consisted of a walled enclosure lined with the necessary buildings, which gave on an open court. Around this court there might be a covered colonnade for use as a track in bad weather. The exercises took place in the court, which was sometimes large enough to serve as a riding school, or ina grove outside the enclosure. It was in these gymnasia that boys received their instruction and older men spent much of their leisure. Athletes in the palaestra. The columns surmounted by slabs indicate a roofed en- closure. On the walls hang the usual paraphernalia: oil-flasks, strigils, sponges, a diskos in its sling, and an empty sling. The poles stuck in the ground were used as javelins and measuring rods. From a kylix, Thorwaldsen Museum, Copenhagen, No. 112 4 '' S155) PALAESTRA AND GYMNASIUM Athletes in the palaestra. One youth has taken off his himation and laid it care- fully on a stool, and is preparing to rub his body with oil from a flask which hangs from his wrist; another is folding his himation; a third is balancing himself while an attendant draws a thorn from his foot. From a krater, Altes Museum, Berlin, No. 2180 Athletes in the palaestra. Youths are practising with diskos and javelin; a sponge and an oil-flask hang on the wall. The picks are used like the rakes in a modern athletic meet for loosening the ground of the jumping pit. From an amphora, Museum fiir Antike Kleinkunst, Munich, No. 408 Wrestlers with their trainer in the palaestra. The trainer smells a flower as he oversees the exercise. From an amphora, Altes Museum, Berlin, No. 2159 NV ''GREEK ALMUE TICS Athletes using strigils. From a kylix, British Museum, No. E83 Oil-flask (aryballos). Athletes oiled their bodies before exer- cise. Each athlete carried his own oil with him, in a little flask hung on his wrist. Aryballos, Metropolitan Mu- seum of Art, No. 17.194.193 A strigil was used for removing the oil and dust from the body after exercise. Bronze strigil, Metropolitan Museum of Art, No. 11.107 Flute player. Greek athletes practised, wherever possible, to the music of the flute, which served to time the action and give precision of movement. The flute player in his long figured chiton often appears in athletic scenes. From a lekythos, Metropolitan Museum of Art, No. 08.258.30 6 ''SSS SESEESEEEESES SESS 555 S555 SSE s 5S SS55 5 S5S5EEES SSS S555 THE: PENTA THEON The Greek pentathlon (five contests), consisting of the foot-race, broad jump, diskos and javelin throw, and wrestling match, was characteristic of the whole of Greek physical training, and the winner of the pentathlon was held to be the typical athlete. lL THE FOOT-RACE The length of the foot-race varied from the 200-yard dash (a single length of the stadium) to the long-distance run of nearly six miles (48 stades). Races in armor differed in length, equip- ment, and rules. Runner with helmet, greaves, and shield, awaiting the signal to start. Races in armor appealed to the Greeks as a practical military exercise., From an amphora, The Louvre, No. G214 '' GREEK ATHLETICS Runner at the start. The runner, bending forward, stood with one foot in advance of the other and one arm outstretched. From a kylix formerly at Naples Sprinters. Short-distance runners swing their arms violently. Here the position of the arms is re- versed, 1. e., the right arm is rep- resented as swung forward at the same time as the right leg. From an amphora, Metropolitan Museum of Art, No. 14.130.12 Long-distance runners. The arms are held close to the sides, the chest out and the head erect. From an amphora, British Museum, No. B609 '' THE, RENTATHEONS TE FOOTAGE Contestants in a race in armor. They wear helmet and greaves, and carry round shields. From a kylix, Altes Museum, Berlin, No. 2307 Armed runner (hoplitodromos) practising starts. He wears a helmet, and his arm is crooked to hold a shield now missing. A bronze statuette, Universitatsmuseum, Tiibingen ''ISIS SSS S55515S 151515151515 151515 15151515 1515 1S1S 15151515 1S Ss SS 1S SSS 1s Ss SS S1sISs SS" GREEK ATEEE TICs We THE BROAD JUMP The only form of jumping that had a place in Greek athletic com- petitions was the broad jump. There is no evidence that the high jump and the pole vault were in common practice, though we may suppose that they were not unknown to the Greeks. The athlete took off from a standing position, or took a few short preliminary steps. Jumping weights (halteres). A stone or metal weight, shaped so as to afford a grip, was held in each hand to give impetus to the swing of the arms, thus increasing the length of the jump. Halteres, British and Berlin Museums — ~ = ad Athlete preparing to iump. He swings the halteres. From a psykter, Metropolitan Museum of Art, No. 10.210.18 10 '' TSS ISISISIS1S1S1S1S1S 1S 151515 151515151515 15151515 15151515 S15 1S15 1S 1S1S 1S 1S1S1S1S1Ss 1151S 1s sisisistats| THE RPENTATHEON..cib BROAD UME Athlete about to jump. He measures his distance with his eye, so as not to overstep the mark. The take-off is perhaps indicated by the two javelins stuck in the ground. From a skyphos, Museum of Fine Arts, Boston, No. 10,176 Athlete about to take off for the jump. He swings the weights vigorously downward and backward, the actual jump taking place on the return swing. From a fragment of a kylix, Metropolitan Museum of Art, No. 06.1133 Jumper in mid-air. He has jumped high, and his arms and legs are extended to the front. From a kylix, Museum of Fine Arts, Boston, No. 01.8020 '' SSS SSS SS SSS 1S 15151515 1515151515 15151515 1S 1S 151515151515 SSS eS SSS SSS isis SS iSSisis GREEK ALTHEELICS Jumper in mid-air. Just before alighting he forces his arms backward, and _ prob- ably releases the halteres. From a lekythos, Metropolitan Museum of Art, No. 08.258.30 Athlete finishing a jump (?). The athlete finished his jump standing. If he lost his balance on alighting, the jump was not counted. A bronze statuette, Metropolitan Museum of Art, No. 08.258.11 ''SS SSS SS 1S SSISISISISISISISISISISIS1S1S1S15 IS1S1S1S S15 1S15 SIS 1S 1S SIS ISIS 1S IS 1S ISISISIsInIs als: THE PENTATHLON--I1HE DISKOS THROW Il. FHE DISKOS THO In throwing the diskos the styles of individuals varied, so that all the attitudes represented in art cannot be understood as stages in a single series of movements. The principle of the throw, however, can be seen in Myron’s diskobolos. The right foot is the pivot round which the whole body swings, the force of the throw coming not only from the arm, but from the swing of the whole body round a fixed point. Characteristic positions showing the evolution of the diskos throw. The athlete swings the diskos forward and backward, either striding forward as he swings or shift- ing the left foot without changing the position of the right. He turns his head and body as he swings, but does not make a complete turn as in the modern style. He then throws the diskos as he pivots on his right leg, striding forward with his left on the follow through. o ) OO® Diskoi. The diskos in use by the Greeks was somewhat lighter than the one used in the modern Olympic games; it often had a design in the center. © © 13 ''Ssisis GREEK “ATHEBITES SS A preliminary stance. The diskos thrower gauges his distance so as not to overstep the mark. Lines were drawn at the front and perhaps at the sides, but not at the back, so that the athlete might take as many preliminary steps as he chose. A statue, Vatican Museum, Rome A preliminary stance. A different style is represented, in which the athlete takes his place with the diskos raised in his left hand. A bronze statuette, Metropolitan Mu- seum of Art, No. 07.286.87 The next stage of the throw. The ath- lete swings the diskos forward with both hands. From a kylix, Metropolitan Museum of Art, No. 09.221.47 The The swings the diskos above his head in next stage. athlete then both hands. Hecan pass from this po- sition to that of Myron’s diskobolos and throw without taking preliminary steps. From an amphora, Museum fiir antike Kleinkunst, Munich, No. 2308 '' SiSisist THE PENTATHLON2 (HE DISKOS THROM A. preliminary — for- ward swing. The right hand grasps the dis- kos, while. the left supports it. From a psykter, Met- ropolitan Museum of Art, No. 10.210.18 The backward swing. The athlete raises his left hand above his head to balance himself. From a kylix, Museum of Fine Arts, Boston, No. 01.8020 ’ The top of the swing. Composite cast after Myron: head in the Lancelotti Palace, Rome; torso in the Vatican The final swing. From a lekythos, Na- tional Museum, Athens, No. 966 ''SES SSSSSSSS15 5551551551515 5515 5515151551515 S Sis SSS 5S55S5S5SS5So5as, GREEK AlHiE res The top of the swing as seen from in The forward swing as seen from in front. front. The artist has avoided foreshort- From a gem, lent to the Metropolitan ening by bending the body to the side. Museum of Art by W. Gedney Beatty A coin of Kos, Metropolitan Museum of Art, No. 702 Diskobolos marking the take-off with a peg. From a kylix, Antikencabinet, Wiirzburg, No. 357 Iv THE JAVELIN THROW The javelin of athletics was a light weapon with blunt end, often with a ferrule to give it weight, and was generally used a distance-throwing. More rarely it was thrown at a target, which case it had a pointed head. 16 '' SISISISISISIS1S1S1S1S15191515 15151515 1S1S151S 1S 1S1S15 1S 1515 SS IS SIS 1S 1S 1S SISISISISISISts: THE PENTATHLON--THE JAVELIN: PFHROW The javelin was thrown with the aid of a thong (amentum) bound round the shaft near the center of gravity, which imparted a whirling motion. The thong was of leather, a foot or eighteen inches in length, and detachable. Athlete adjusting his amentum. Having made fast the ends of the thong by lapping them round the javelin, he holds down the loop with his foot and wraps it firmly by rotating the shaft. From a kylix, Antikencabinet, Wiirzburg, No. 432 Javelin throwers testing the bindings of their thongs under the eyes of their trainers. From a psykter, Museum of Fine Arts, Boston, No. 01.8019 a7, ''ISLS1S iS 1S iSiS1isisis SSSis) GREBK ALHEE PICS Athlete throwing a javelin with the aid Athlete launching a javelin with all his of a thong. force. From a lekythos, Metropolitan Museum From a kylix, Altes Museum, Berlin, of Art, No. 06.1021.60 No. 2262 Javelin throwers mounting. The javelin was also thrown from horseback. One athlete holds blunt javelins for distance-throwing, the other has pointed javelins for throwing at a target. From a kylix, Museum fiir Kunst und Industrie, Hamburg '' So1sis THE PENTATHEON= We AVE EIN ERO, Mounted athletes throwing javelins at a target as they gallop past. From an amphora, British Museum, No. 1903.217.1 vo WRESTUING In the wrestling match of the pentathlon the struggle was not continued on the ground after one or both of the contestants had fallen. A fall on the back, shoulders, or hip counted as a fair throw. ‘‘Ground wrestling,’ where the contestants struggle on the ground after a fall has been obtained, was confined to the pankration. Wrestlers engaging. Each advances bent forward from the waist so as not to offer any opening, while his outstretched hands are ready to seize any opportunity offered by his opponent. A pair of bronze statues, National Museum, Naples 19 '' RIMM AINSLIE IES) Wrestler trying to force his opponent to his knees by bending his neck forward. From a psykter, University Collection, Turin Wrestler gripping his opponent’s arm in order to throw him by means of the “flying mare.”” The other guards by pressing a hand against his shoulder to keep him from turning round for the throw. A statue base, National Museum, Athens ''SIS 1S SS 1S 1S 1S 1S 1S 1S 1S 1S1S 1S 1515 1S 1S 1S IS 1S Ss 1S 1S 1S 1S 1S 1S IS LSS LSS 1S 1S 1S 1S LS LS IS IS ISIS ISIS ISISISISISISL THE PENTATHLON-—_WRESTLING The ‘‘flying mare.” The wrestler seizes his opponent’s arm in both hands, and stooping suddenly and turning his back, hurls the other over his shoulder. From a kylix, British Museum, No. E94 “The heave.” The wrestler obtained the hold for this throw by passing one hand across and around the opponent’s back and the other underneath him. From a psykter, Museum of Fine Arts, Boston, No. o1. 8019 Wrestler thrown by means of the “flying mare.” He tries to break his fall by putting one hand on the ground. From a kylix, Bibliotheque Nationale, Paris, No. 523 “The heave.” Having obtained his hold, the wrestler is here seen turning his opponent over in the air and pre- paring to drop him on the ground. From a metope of the “Theseion,” Athens Wrestlers engaging. A coin, Metropolitan Museum of Art, No. 731 ''DS SSS. BOXING The Greek boxer aimed his attack at his opponent’s head, body blows being almost unknown; for this reason in boxing scenes the contestants invariably have their heads well guarded, while their bodies are left exposed. Boxers wrapped their fists with thongs (himantes) ten or twelve feet in length, to form a sort of glove. Boxer wrapping his fists with thongs. From a kylix, Altes Museum, Berlin, No. 2262 Boxer at rest. He wears gloves that can be drawn on and off, a later invention. A statue, Terme Museum, Rome Boxers sparring. From an amphora, Metropolitan Museum of Art, No. 06.1021.51 22 ''ES SSS SSSS 1S SISS1S1SIS1S1S1s 1S S16 1S SSS 1S 1S 1S S15 1S 1S 1S 1S 5151S SS SS SSIS 1S 1S SSIS stot BOXING Boxers sparring with open hands. From a krater, Metropolitan Museum of Art, No. 06.1021.173 Wy Ge Boxers. One has felled the other, and the fallen athlete holds up his forefinger as a sign of defeat. From a kylix, Altes Museum, Berlin, No. 2284 23 '' SSS 51S 1551S SSS S515 51S S515 SSS SSS5ES56E555SS5 ESS S SSsSsSS5 Ss sisisisst THe, PANKRATLION The pankration, a combination of wrestling and boxing, was a development of the primitive hand-to-hand struggle without It was, however, controlled by rules and was a con- weapons. : test no less of skill than of strength. Ground wrestling. From a krater, The Louvre, No. G103 The pankration. eros Contestants in the pankration struggling on the ground. A marble group, Uffizi Gallery, Florence '' assis THE PANKRATION Pankratiast about to plant a blow on The pankration. An athlete upsetting the chin of his opponent, who is prone his opponent by seizing his leg and tilt- on the ground. ing him over backwards. From a skyphos, Metropolitan Museum From an amphora, Metropolitan Mu- of Art, No. 06.1021.49 seum of Art, No. 16.71 Trainer beating with his stick a youth who is gouging his opponent’s eye. From a kylix, British Museum, No. E78 '' ISS SSS SS SS SSS 151515 55515515 5151515 51515 1S 15151515 SSS S SSS 55555555 sss dae HORSERACE The Greeks rode without saddle or stirrups. Young men mounted by vaulting from the ground, sometimes with the aid of a javelin. Children and old men mounted with the help of another person. Races took place in the hippodrome, which consisted of an open plain flanked by a slope where spectators could sit. A pillar at either end marked the turning. The cir- cuit of the course at Olympia was nearly a mile. Rider vaulting from his horse. He holds his whip in his right hand, the reins in Child mounting with the help of a man. his left. From an amphora, National Museum, A coin, Metropolitan Museum of Art, Naples No. 735 Athlete about to vault on the back of a trotting horse with the aid of his javelin. From a kylix, Museum fiir antike Kleinkunst, Munich, No. 515 _ 26 '' SiSisis’ LHe HORSERACE Boys’ horse-race. One rider has been thrown from his horse and is being dragged along clinging to the rein. From a krater, Museum fiir antike Kleinkunst, Munich, No. 805 Horse-race. Riders passing the turning-post. From an amphora, Metropolitan Museum of Art, No. 07.286.80 The victor in-a horse-race. The victor rides in procession, followed by a youth carry- ing the garland and tripod which he has received as prizes. A herald walks in front announcing the victory: “ Dyneiketos’s horse is the winner.” From an amphora, British Museum, No. B144 Zi) ''1S1S1S15 1S 1S1S1SISiSiSiSiS1S iS S1stSiSisSiSiS1S151515151515 15151515 1S 1S SS 1S1S1Ss iS 1S tS Ss 1S tS isisis ists: THE CHARIOT RACE The four-horse chariot race was twelve laps of the hippodrome, nearly nine miles at Olympia, a distance which made for a slow pace and comparative safety. The course was marked by a column at each end, the danger point of the race. Racing chariot with four horses. This is the usual type of chariot, with two wheels and a low-swung car open at the back; the driver stands, holding the reins in his left hand, a goad in his right. A coin, Metropolitan Museum of Art, No. 291 Racing chariot with two mules. The char- iot consists of two wheels and a high seat on which the driver perches. A coin, Metropolitan Museum of Art, No. 206 NV CO ''1S1575151S15751S1S151S1S1S1S1515191S151515 15151515 15151515 15151515 151515 1S 1S 151515 1S 1S 1S SiS iS isioisisis THE CHARIOY RACE Racing chariot. The driver wears a long white chiton, the regulation dress of the Greek charioteer. From an oinochoé, Altes Museum, Berlin, No. 1732 Chariot race at the finish. The chariots at full speed pass the goal, near which the judges are seated. The tripods are to serve as prizes for the winners. From a krater, Altes Museum, Berlin, No. 1655 29 '' S1S15151515151515 1515151515 1S 51S 1515 1 S51S SSS SSS Sis SS SiS s 1s Ss SS 515 5151S 1S1sisist BALE. GAMES» Games played with balls were popular with the Greeks from the earliest times, but were not accorded a place among the regular activities of the gymnasium. “Hockey” game. Two players stand as if ready to “bully off”; but their sticks are held in a reversed position, while those in the field are not on the alert to receive the ball. A statue base, National Museum, Athens Ball game. Two teams of three confront each other; one of the players is about to throw the ball with all his force high in the air, while a member of the opposing team appears ready to catch it. A statue base, National Museum, Athens 30 '' ISIS UStS! HOPLOMACH Y Youths were taught to fence in heavy armor, to the music of the flute, a practical military exercise. Hoplomachy or Pyrrhic Dance. From a hydria, Metropolitan Museum of Art, No. 21.88.2 151515151515 1S 1S SS 1S 1S 1515 1515 1S 1S S515 15151515 1S 1S 151s 1516 1S1S ISIS 1S SS 1S SSS ss Ss Isisisisststs! PRIZES The victor in the games received a crown of wild olive. Victorious athlete receiving a crown. He holds in his hands some of the branches which were showered on the victor by the spectators. From a psykter, Metropolitan Museum of Art, No. 10.210.18 31 '' on ie 2 eee iat POE Soe Sioprciny § ‘ RS ey 0 POEL PRINTED DECEMBER, 1925, IN AN EDITION OF 1,000 COPIES '' ''RETURN CIRCULATION DEPARTMENT TOmemp = 202 Main Library LOAN PERIOD 1 _~ _HOME USE 2 3 4 6 ALL BOOKS MAY BE RECALLED AFTER 7 DAYS i-month loans may be renewed by caliing 642-3405 1-year foans may be recharged by bringing the books to the Circulation Desk Renewals and recharges may be made 4 days prior to due date DUE AS STAMPED BELOW DEC 7 1994 DEC 07 1996 UN 05 2007 Y RECEIVED -£ NOY 7 156% CIRCULATION D; PT, ‘UL 06 1989 UNIVERSITY OF CALIFORNIA, 6 FORM NO. DD6, 60m, 1/83 BERKELEY, CA 94720 '' '' ''