The origins of athletic games reflect man’s daily struggle for survival, his agonizing effort to procure food, secure protection against the threats of nature and confront wild animals and dangerous adversaries.

In their age-old history, the games have been associated with rituals that aimed to propitiate the gods and ensure fertility of land —the tradition of crowning victors with fresh shoots harks back to these rites.

Moreover, they were frequently connected with honours bestowed upon a deceased hero, through funeral games (ἆθλα ἐπιτάφια), thereby denoting in a symbolic manner the transcendence of death, rebirth and the triumph of life.

They took the form of gymnastic display for public enjoyment, intended mainly for the upper classes, with spectacles such as acrobatics, wrestling, boxing, shot-putting, and later impressive horse and chariot races.

They became indispensable part of education, so that young men would become sturdy and fearless protectors of the community.

During the Dark Ages (1100-750 BC), elements of these traditions merged and transformed. In the Archaic period, the agonistic ideal became stronger than ever, and the games were no longer seen merely as an entertaining sporting activity, but as a series of sacred events imbued with a sense of fair play, but also the desire for victory, since supremacy signified the favour of the gods and the glory of the city. Moreover, the games, particularly Panhellenic events, constituted a splendid, valuable link forged between the Greeks.

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The Boxing Boys wall-painting from Thera

The famous wall-painting of the Boxing Boys initially adorned Room 1 of Building B, a central complex in the vivid prehistoric settlement of Akrotiri. The fresco presents the boxing game of two boys, who were not older than 12 years old.

The Taureador Fresco

One of at least six consecutive decorative panels that ran around the walls of a room, all depicting the subject of bull-leaping, the execution of acrobatic leaps over charging bulls.

The “Runner’s Ring”

The scene is dominated by a central male figure with widely extended legs. He is depicted with strongly muscled legs, arms bent antithetically, and body and head curved back, locks streaming –elements providing a snapshot of the rushing speed of the figure, justly named the “runner”.

The “Boxer Vase”

Conical libation vase (rhyton) with relief scenes in four zones.
It depicts pairs of boxers wearing gloves and special footwear, engaging in two distinct types of boxing, judging from the different helmets (with or without plumes and cheek pieces). Moreover, it represents pairs of wrestlers and bull-leapers – we can even witness the ill-fated leap of one athlete.

Sherd of an Attic black-figure lebes depicting the funeral games in honor of Patroklos

On the sherd is depicted the four-horse chariot race at the funeral games for Patroklos, organized by Achilles.
The chariot is shown in flying gallop in front of stepped edifice, suggestive of an early Greek stadium, where the seated Achaeans spectators are vividly gesturing at its arrival.

Two sherds of an Attic black-figure lebes depicting the funeral games of Pelias

On one side, the wrestling-match between Peleus, king of Homeric Phthia and father of Achilles, and Atalante is depicted. The nude hero grasps Atalante tightly by the hand and has put his other arm firmly around her shoulders. Atalante, distinguished for her martial and athletic merits, was the only female among many men, during the funeral games organized by Akastos to honor his dead father, Pelias, king of Iolkos.

Bronze hydria awarded as a prize

This bronze inscribed hydria (kalpis), of Attic manufacture, belongs to the simple type of bronze undecorated hydriae. An inscription is written on the mouth ring, in Ionic alphabet, and in letters made up of small punched dots (pointillé).