women, who were more covered and went out less into
the sun. This conventional iconography appears, for example, on the fresco of the bull-jumpers from Knossos
(ca. 1450 B.C.). A man and two women are performing a bull-jumping exercise. All three are wearing naturist family video . Just the color, white for the girls, dark for the guy, differentiates the genders.32 This
sports costume, the short pants, trunks, or perizoma,
had a long life. It is found in later, Classical times,
worn by women athletes, in addition to by the barbarian
neighbors of the Greeks, the Etruscans and Romans.33
boots… “; http://picsnudists.com/tube/nudist/family-naturism-video-vk.php , n. 36: “He is not mentionedin literature,
and his identificationwith the hero of the Gilgameshepic is
Wholly without foundation.”

Nudity appears in Geometric art, in another context. Long after the Mycenaean age, Geometric artists
in Athens reintroduced the human figure in art and
developed a different set of traditions for its depiction. Most of the male statuettes of Geometric age are
Naked; some wear a belt but this does not hide their
genitals. In vase painting, too, male naked bodies appear, in scenes of funerals, war, or processions, where
it was not necessarily a depiction of fact. It is hard to see that such male nudity has any connotation
other than that of recognizing gender. Figures
wearing long skirts could be either women or charioteers, dressed in long robes according to the previously
convention. J.L. Benson has indicated that some examples of a charioteer not wearing a robe, and therefore
presumably nude, might be attributed to a powerful
feeling, even at this early date, “for the arete in the
unclad state of warriors and sportsmen.” At what stage
in Greek history can one safely assume this type of feeling
to have existed? Maybe, in Geometric art, as in Homer, it was just beginning to exist, but was not yet
fully grown, even for naked male bodies signified with distinct sex organs.34
Really, we seem to see a gradual growth toward a restriction of nudity in Greek art, or instead a
definition of it as epic, divine, athletic, and youthful
for guys; and something to be prevented for women. A
group composed of a huge bronze statuette of a youth
from Dreros (more than 21/2ft high), found jointly
with two smaller female figures, already shows, in the

eighth century B.C., the distinction between nude
male kouroi and clothed female korai. It’s challenging to
Understand to what extent the youth’s nudity was already
significant: Robertson indicates the group represented
Apollo with Leto and Artemis.35
In the seventh century B.C., there started to appear
statues of nude youths, life-size or over, monumental,
heroic, divine, votive, or funerary-the

Egyptian art inspired the size, pose and type of kouros, but its nudity was a Greek innovation.
On the other hand, the apotropaic, magical quality
of nakedness endured in other nude, or rather, phallic
male figures which soon made their appearance in
Greek art. Satyrs, animal like human figures with
horses’ tails, were symbolized full of vitality, nude,
with exaggerated tremendous phalli (or phalluses), on blackfigured vases of the sixth century B.C. Celebrities who
represented satyrs in the theater in the fifth century
wore animal-skin loincloths with a big phallus sewn
on.”37The herms the Athenians fell upon daily in
the streets of their city, from ca. 540 B.C. on, weren’t,
strictly speaking, nude, since they’d no body. Each
consisted of a male head sculptured on a pillar, on
which was carved an erect phallus, serving as a reminder of the strong magic residing in the alarmed
male member (fig. 1).38 At the time of the mutilation
of the herms, the city of Athens perhaps feared treason
as mass castration.
In cute beach girl , thus, the naked male physique reigned from
the seventh century B.C. on. On the kouros, the sex

whilethe phalluswas emphawas simplyuncovered;
sizedon satyrsandherms,andon the stage. The two
typesweredestinedto becomequitedistinctbyClassi-

cal times; any first relation was unrecognizedby
the enlightened intellectuals of fifth-centuryAthens.
There were to be, in fact, during the sixth and fifth
centuries B.C., “two concurrentstrains of nudity in
Greek artwork:one reflectinga magicalor apotropaicfunction (herms, satyrs, etc.), characterizedby the erect
phallus; another, developing from fit nudity, a
more empiric interest in the naked, athletic man
body (kouroi, sportsmen and male figures in black- and
red-figurevase painting), where the sex organsthemselves are less obtrusive.”39
Nudity was definitely critical for the picture of
the kouros. Exceptions like the statues of draped
youths from Asia Minor, probablyinfluencedby the
attitudeof the neighborsof the Ionian Greeks,among
whom, as we have seen, male nudity was considered
shameful,40 just serve to underline the extent to
which, in mainland Greece, the consistentattributes