SECONDARY ATTRIBUTES OF VICTOR STATUES. 167 
Munich kylix of the early fifth century B.C. It is probable that such 
caps were customary at a period before athletes lost their long hair and 
that it was continued afterwards for various reasons. The little 
statuette from Autun now in the Louvre (Fig. 60), representing a pan- 
cratiast, has a close-fitting cap. ‘The ring at the top shows that this 
statuette was hung up—perhaps being. used as a weight in a Roman 
scale, or perhaps for adornment. In later days boys while practising 
in the palzstra, but never at the public games, wore ear-lappets 
(Augwrides or érwrides) to protect their ears, not dissimilar to those 
worn in our day for protection against the cold. We see them on a 
marble head, formerly in the possession of Fabretti.! 
THe SwoL_LEN Ear. 
We have lastly to speak of the swollen ear, which was an attribute 
of victor statues, both primary and secondary, since it characterized 
victors as such, and also early differentiated victors in various contests. 
Swollen ears may have played a role as a characteristic attribute of 
pugilists in early times.?, We found them on the Rayet head in the 
Jacobsen collection (Fig. 22), which belongs to the last quarter of the 
sixth century B.C. and comes from the funerary statue of an athlete, 
probably a boxer. In course of time, however, they came to charac- 
terize pancratiasts, wrestlers,’ and athletes in general. “The assump- 
tion, then, that heads with swollen ears come from statues of boxers,’ 
and that the boxer was known throughout Greek history as the “man 
with the crushed ear”’ is erroneous.®> ‘The earliest literary reference 
to the bruised ear isin Plato. The philosopher used the term slight- 
ingly of those who imitated Spartan customs, especially Spartan 
boxing. The Lacedeamonians never boxed scientifically, but fought 
with bare fists and without rules. Literary evidence, furthermore, 
shows that bruised ears did not play the part in boxing matches which 
other bruised features of the face did—the eyes, nose, mouth, teeth, 
and chin. Vase-paintings sustain this evidence, for we often see 
bloody noses and cuts on the cheeks and chin, but no crushed ears.’ 
1See Fabretti, de Columna Trajani, p. 267; Gardiner, p. 433, fig. 149; Schreiber, Bilderatlas, 
Pl, XXIV, no. 8. Cf. Krause, I, pp. 517 f. 2Cf. Reisch, pp. 42-3. 
3Cf. Philostr., Heroicus, XII b (p. 315); ra 6€ Ora KaTeayws Hv obx WTO TANS. 
4Thus Furtwaengler calls the Ince-Blundell head that of a boxer statue: Mp., p. 173, and fig. 
71 on p. 172; Mw., p. 348, and fig. 44 on p. 347. 
5Cf. discussion by Gardiner, pp. 425-6. 
SGorgias, 515 E; Protag.,342 B. Inthe latter passage he says: xal ol wey Sra TE KaTayruvTat 
ptwobmevor avrovs, kai iuavras mepecdirrovrat Kal gidoyuuvactoicrt Kat Bpaxelas cdvaBodds 
gopotow, k. t. A. The boxer’s swollen ears are mentioned by Theokritos, XXII, 45. The 
word wroxaratis seems to have meant a boxer whose ears were battered by the gloves: Aristoph., 
Fragm., 72; Pollux, II, 83 (whence Dindorf corrects the form droxaratias in Poll., IV, 144). For 
references, see Krause, I, pp. 516-17; andcf. J. H. S., XXVI, p. 13. 
7E. g..on a fragment of a red-figured kylix in Berlin: J. H. S., X XVI, p. 8, fig. 2; Hartwig, Die 
griech. Meisterschalen, Textbd., p. 90, fig. 12; Gardiner, p. 438, fig. 153. Here one of the con- 
testants in the pankration is bleeding at the nose. 
