When you are rowing well and hard, the rhythm of the stroke takes over. It drives your days and restores your nights. It imparts cadence and direction. You feel like you and the boats are one, you feel that no obstacle will put up any more resistance than the water does to your oars, you feel that hard work and grit and mental toughness will always win it for you in the end.

Rowing was not simple for me. I nodded whenever the instructor made a point, as if I understood, but I could as easily have assembled the space shuttle as have repeated the moves she was explaining.

Eakins rejected gentlemen athletics as his theme. Instead, he took a subject that had been the stuff of illustrated weeklies and the penny press and turned it into fine art. Eakins celebrates not fire from heaven but honest sweat, not genius but hard work.

The Greek in me wanted to know what it felt like to pull an oar. The intellectual wondered about how to get eight individuals to move to the same beat. The athlete wanted to check what has been described as the ultimate workout. The romantic craved seeing if the quirkiness of the sport - there is after all, little practical value to oarsmanship in the postindustrial age - stirred his blood.

The rower need to know technique and has to be in shape. He won't wrong by using strategy. Yet what it takes to win races is the ability to reach inside and pull out something to keep you going - no, to go faster - when you have nothing left to give. There's a word for what that takes and the word is not magic, the word is guts.

The greatest poet who ever wrote about rowing is Virgil, the greatest historian is Thucydides, but the greatest imagination ever to turn its attention to the sport is that of painter, Thomas Eakins.

If rowing is a trial then the ergometer is the courtroom, the meter is the jury. And an honest jury at that, because the numbers do not lie.