The most beloved emblems of the modern Olympics have a decidedly dark past.
The torch relay that culminates in the ceremonial lighting of the flame at Olympic stadium was ordered by Adolf Hitler, who tried to turn the 1936 Berlin Games into a celebration of the Third Reich.
And it was Hitler’s Nazi propaganda machine that popularized the five interlocking rings as the symbol of the Games.
Today, both are universally recognized icons of the Olympics. But historians say neither had much, if anything, to do with the Games born centuries ago in Ancient Olympia.
“The torch relay is so ingrained in the modern choreography that most people today assume it was a revival of a pagan tradition – unaware that it was actually concocted for Hitler’s Games in Berlin,” author Tony Perrottet writes in a new book, The Naked Olympics.
A sacred flame did burn 24 hours a day at Olympia. And relay racers passed a torch to light a sacrificial cauldron at some other ancient festivals. But the ancient Greeks opened their Olympics by word of mouth, sending heralds – not torchbearers – running through the streets.
The modern tradition of spiriting the Olympic torch to the main stadium didn’t become a fixture of the Games until 1936, when a 12-day run opened the Games in Berlin.
The Olympic rings, another universally recognized symbol of the games since they made their debut in 1920 at Antwerp, Belgium, have their own Nazi connection.
Originally, they were designed in 1913 by Pierre de Coubertin, founder of the IOC and father of the modern Olympic movement, for a 1914 World Olympic Congress in Paris. They were supposed to symbolize the first five Olympics, but the congress disbanded when Archduke Ferdinand of Austria was assassinated in Sarajevo, triggering World War I.
Leni Riefenstahl, the Olympia filmmaker who also chronicled Hitler’s rise to power, had the rings carved into a stone altar at the ancient Greek city of Delphi, spawning the myth that they were a symbol dating more than two millennia.
With Hitler’s influence, the rings became part of the Nazi pageantry at Berlin – and they’ve come to symbolize the Olympics ever since.
Hitler’s Contribution to Olympic Pageantry
By Tony Perrottet, Author of “The Naked Olympics“
Just how theatrical were the ancient opening ceremonies on the morning of day one? It’s hard not to let our imaginations run riot, blurring Hollywood movies and the pseudoclassical kitsch of our own lavish Olympics rituals. The torch relay, for example, is so ingrained in the modern choreography that most people today assume it was a revival of a pagan tradition unaware that it was actually concocted for Hitler’s Games in Berlin.
The Nazis knew a good propaganda symbol when they saw one. At noon on July 20, 1936, two weeks before the start of the Berlin Games, a Greek high priestess and fourteen girls wearing classical robes gathered in the ancient Stadium of Olympia, and used parabolic mirrors to focus the sun’s rays on a wand until it burst into flame. As a torch was kindled, a chant went up, “Oh fire, lit in an ancient and sacred place, begin your race,” followed by a ceremony where one of Pindar’s Pythian odes was sung to ancient instruments. The so-called Olympic flame was then carried by 3,075 relay runners from Greece, passed from magnesium torch to torch (each one bearing the logo of the German arms manufacturer Krupp), until it finally lit a colossal brazier in the Berlin stadium before the Führer’s approving gaze.
In fact, this ceremony never occurred at the ancient Olympics. The modern conception is a mishmash of two quite different pagan traditions that Berlin’s masterminds in particular, Dr. Carl Diem, a leading German scholar who became head of the organizing committee had brilliantly reworked. Olympia, like all ancient Greek and Roman sanctuaries, did have its own eternal flame, which was kept burning for Hestia, goddess of the hearth, in a building called the Prytaneion, or Magistrate’s House. It was used to light all the sacrificial fires at altars throughout the sanctuary. And some other ancient Greek cities did have a lampadedromia, or torch race, as part of their local festivals. At Athens, for example, young men wearing nothing but a diadem hung over their foreheads would race in relay teams from the port of Piraeus south of the city to the Acropolis, trying to keep a baton made of flaming reeds from the narthex plant alight until they reached the altar of Prometheus. It must have made a hypnotic sight from the Parthenon, watching the flames weaving like fireflies through the dark streets below. But no torch lighting, relay races, or other pyrotechnic shows ever made their appearance at the ancient Olympic Games.
The revived 1936 torch race perfectly fit the Nazi design for the Olympics as a showcase for the New Germany. With its aura of ancient mysticism, the rite linked Nazism to the civilized glories of classical Greece, which the Reich’s academics were arguing had been an Aryan wonderland. (They were particularly fond of the macho, warlike Spartans Hitler was even inexplicably convinced that the peasant soup of Schleswig-Holstein was a descendant of Spartan black broth, a famously austere staple fed to the men in communal messes as they underwent their brutal training.) Hitler took considerable personal interest in the ritual, and pumped funds into its promotion: The Nazi propaganda machine covered the torch relay slavishly, broadcast radio reports from every step of the route, and filled the Games with the iconography of ancient Greek athletics. Afterward, the ceremony became permanently embedded in the popular imagination in part due to Leni Riefenstahl’s documentary of the Nazi Games, Olympia , which evocatively showed a Greek runner treading the gentle beaches of the Aegean at dusk.
Ironically, considering its repellent origins, the torch race has come to symbolize international brotherhood today, and remains a centerpiece of our own pomp-filled Olympic opening ceremonies. (The most popular part of any Games, they are perennially sold out in advance.) Even more strangely, the mock-pagan ritual is still carried out in Greece. Every four years, local teenage girls gather at the temple of Hera at Olympia dressed in faux-pagan regalia they even use parabolic mirrors to focus the sun’s rays while runners transmit the flame across the globe, sometimes by airplane, boat, scuba, or camel-back, to each new Olympic stadium. Every summer, the German archaeologists now working at Olympia are peeved to distraction by the hundreds of tourists asking them every day to point out the site of this ancient torch-lighting ceremony.
The bell was a massive object weighing over 30,000 lbs.. The casting included a number of symbols and an inscription. There were of course the linked olympic rings, a German eagle, an image of the Brandenburg Gate, the dates of the games and between two swastikas around the rim of the bell, the words, ” Ich raufe die Jugend der Welt “, I call the youth of the world. The bell had been designed by the sculptor Walter E Lemcke (1891-1955). He was responsible for the design of the gold chains to be worn by IOC officials during the ceremonies and also the swastika and eagle “Hoheitszeichen” on Goering’s new Air Ministry on the Wilhelmstrasse.