Fig. 123. B.-f. amphora. Munich, 495.
More commonly the hold is secured from behind in the manner represented on a black-figured amphora in Munich (Fig. [123]). We may notice that the wrestler in mid air has, in defence, hooked his right foot round his opponent’s leg. The hands are interlocked in the manner already described. But despite of these realistic touches the drawing as a whole is stiff and lifeless, and contrasts strangely with the much more vigorous portrayal of the same type on gems and coins. The type is particularly connected with Heracles and Antaeus. The lifting of Antaeus is first represented on the fourth century coins of Tarentum. From this time it is constantly repeated in bronzes and statues, and especially on coins and gems.[[677]] Roman poets said that Antaeus being the son of earth derived fresh force from his mother each time he touched earth, and that Heracles therefore lifted him from earth and squeezed him to death in mid air. This version of the story is, however, unknown to the literature and art of Greece; and though it may have originated in a mistaken interpretation of the type which we are considering, cannot possibly be regarded as its motive. With a few doubtful exceptions Heracles is always represented as lifting Antaeus, not to crush him, but to swing him to the ground, and nowhere is this motive clearer than on some of the imperial coins, such as the coin of Antoninus Pius shown in Fig. [109].
For no throw have we such abundant evidence as for “the heave,” the hold for which is obtained from the side by passing one hand across and round the opponent’s back, and the other underneath him. This is the hold which is being practised in the wrestling lesson shown in Fig. [96]. It is a hold sometimes employed by Heracles against Antaeus, but is particularly characteristic of Theseus. Two kylikes in the British Museum (Figs. [124], [125]) will sufficiently illustrate it. On the one Cercyon has endeavoured vainly to save himself by applying a similar hold to Theseus, but too late; on the other vase he has already been swung off the ground, one arm still clasps Theseus’ back, the other hand reaches for the ground or grabs at the foot of his adversary. The popularity of “the heave” among the Greeks is shown by a far more important monument. A metope from the Theseum shows Theseus in the very act of turning Cercyon over to throw him (Fig. [126]). A yet later moment is represented in a well-known bronze statuette now in Paris (Fig. [127]). The victor here has turned his opponent completely over, and standing upright prepares to drop him on the ground. On an Attic stele already mentioned, representing Athenian sports, a wrestler is in the act of falling headlong to the ground, and as he slips through his opponent’s hands clasps his leg to save himself (Fig. [36]). The heave and the holds necessary for it are clearly described in the late epics of Quintus Smyrnaeus and Nonnus.[[678]]
Fig. 124. R.-f. kylix. British Museum, E. 48.
Fig. 125. B.-f. kylix, in British Museum, E. 36.
Fig. 126. Metope of Theseum. Theseus and Cercyon. (Greek Sculpture, Fig. 66.)
