WRESTLERS. 229 
(kUALots, @Nivdyors), where the fight was continued on the ground by 
using every means, except biting and gouging, till one was exhausted. 
The first kind was the only one used in the event called ré\y at Olym- 
pia, as well as in the pentathlon; the other was used only in the pan- 
kration. In this section we shall discuss only the first.1_ A recently 
discovered papyrus of the second century A. D., containing brief 
instructions for wrestling lessons intended to help the zacéorpiys, indi- 
cates that every movement in the contest was systematically taught.” 
The various positions used—grips and throws—are shown by many 
monuments, vase-paintings, gems, coins,’ statuettes, and statues. The 
vases’ especially illustrate the various holds assumed by wrestlers 
during a bout—front (c’oraois), side (tapdOeots), wrist, arm, neck 
(rpaxnrtifewv), and body holds. Still others illustrate the various 
throws—flying mare,® heave,® buttocks and cross-buttocks (é5pap 
oTpepe), and tripping (vmookeNifew). We here reproduce two such 
paintings. ‘The first, the obverse of a r.-f. amphora from Vulci, signed 
by Andokides and now in Berlin (Fig. 49),7 shows two positions. In 
the central group the wrestler on the left side has grasped his oppo- 
nent’s left wrist with his right hand. The latter, however, has ren- 
dered the grip useless by passing his own right hand behind his 
opponent’s back and grasping his right arm just below the elbow. 
In this way he keeps his opponent from turning round, which move- 
ment would not have been possible if the latter had grasped him 
by the upper arm. In the group of wrestlers to the right we see an 
illustration of a body hold. Here a youthful athlete has lifted his 
bearded antagonist clear off his feet preliminary to throwing him. 
However, the one lifted from the ground has caught his foot around his 
1On rules and representations of wrestling in literature and art, see especially E. N. Gardiner, 
J. H. S., XXV, 1905, pp. 14-31; pp. 263-293, and Pls. XI and XII; 1d., Greek Athl. Sports, Ch. 
XVIII, pp. 372-401; cf. Krause, I, pp. 400 f; Grasberger, Erziehung u. Unterricht, I, pp.345f. An 
excellent account of a wrestling match is found in the oldest Greek prose romance, the 4ethiopica 
of Heliodoros, X, 31 f.; cf. also the fine account of a bout between Diomedes and Aias in Quintus 
Smyrneus: IV, 215 f.; etc. 
2Grenfell and Hunt, Oxy. Pap., III, 466; discussed by Juethner, with part of the text and trans- 
lation, in his edition of the de Arte gymn. of Philostratos, p. 26. On the method of selecting 
antagonists at Olympia, the number engaged, byes, etc., see Gardiner, pp. 374-5. 
3For coins in the British Museum, see Gardiner, p. 373, fig. 109, a, b, c (from Aspendos, 
of the fifth and fourth centuries B. C.), d (from Herakleia in Lucania, of the fourth), e, f (from 
Syracuse, of about 400 B. C.), g (from Alexandria of the time of Antoninus Pius); see also 7d., 
were Vy p, 2/1, fig. 9. 
4See especially, Gardiner, /l. cc. 5Described by Lucian, Anach., 24. 
6Described by Quintus Smyrnzus, IV, 215 f. and Nonnos, XX XVII, 553 f.; discussed in J. H.S., 
Preven. 25. f. 
™No. 2159; A. J. A., XI, 1896, p. 11, fig. 9; J. H. S., XXV, p. 270, fig. 8; Gardiner, p. 386, fig. 
116; Furtwaengler-Reichhold, Die griech. Vasenmalerei, Il], pp. 73 f., and Pl. CXXXIIT; Ger- 
hard, Trinkschalen und Gefaesse des k. Museums xu Berlin und anderer Sammlungen, 1848-50, 
Pls. XIX, XX; Overbeck, Griech. Kunstmythol., III, Apollon, p. 400, n. 1 and Pl. XXIV, 2; W. 
Klein, Die griech. Vasen mit Meistersignaturen?, 1886, no. 4; Hoppin, Hbk. Attic r.-f. Vases, I, 
pose bl, On Pp. 2): 
