Another game of chance was “fast and loose,” which very closely resembled the game still played at fairs
Fig. 104.
by sharpers. A strap was folded double and wound round several times on a table; the player then pricked it with a dagger or other pointed instrument, and if, when the strap was unwound, it appeared that the point had gone between the layers of the strap, he won; but he lost if the strap could be entirely wound off. Another favourite game was similar to morra, still popular in Italy. Two players quickly thrust out their right hands with some fingers bent in and others stretched out, and they have at one glance to notice and exclaim how many fingers of both hands together are stretched out. This game is often represented on ancient works of art; for instance, on the vase painting depicted in Fig. [104]. Here a youth and a girl are playing, both are seated, though morra players of the present day stand; in their left hands they hold a stick, the object of which is to prevent them in the excitement of the game from using their left hands by mistake. Similarly the Italians put their left hands behind their backs while playing. The youth is stretching out four fingers, the girl two, so that the number to be called out in this case is six. A Cupid seated above is handing a wreath to the girl, and thus pointing her out as victorious.
Fig. 105.
A popular amusement in Greece was cock and quail fighting, a pursuit which played so important a part at Athens that even the great theatre of Dionysus had to be used for the purpose, and the Athenians actually maintained that this was a spectacle calculated to rouse the courage of the citizens to brave deeds. Fighting cocks were trained at Tanagra and Rhodes; both young and old men aimed at the possession of fighting cocks or quails, carried them about for hours, and tried by all possible means to excite their courage in order to obtain prizes. For this purpose they were fed with garlic, and sometimes brazen spurs were even tied on them in order to make the wounds they inflicted more serious. The representations (compare the vase painting, Fig. [105]) show