BOXERS. 243 
date the original from which this copy was made, but the head gives us 
the clue, as its style appears to be a connecting link between that of 
the seated statue of Herakles, in the Palazzo Altemps in Rome! and 
the Munich Oil-pourer (Pl. 11),? as it shows affinity to both. Though 
Sogliano referred it to the school of Lysippos and Juethner to the 
beginning of the fourth century B.C., it shows indubitable Myronian 
characteristics and may have been the work of Myron’s pupil Lykios, 
who is known to us as an athlete sculptor.*? In this statue the youth 
is resting his weight on his right leg, the left, with full sole on the 
ground, being turned to one side. The left forearm is extended out- 
wards and to the side, the head leaning toward the right leg—in other 
words, the athlete is represented in an attitude similar to that of the 
Idolino (P1.14). As there is an olive crown in the hair, it seems reason- 
able to conclude that the original statue was that of an Olympic victor. 
By the beginning of the fifth century B.C., if not earlier, boxers were 
represented in violent motion, as we saw in the case of the statue of the 
boy boxer Glaukos, by the Aeginetan sculptor Glaukias,! represented in 
the act of sparring (oxtauax@v). Whether he was represented as facing 
an imaginary antagonist or as merely punching a bag we can not say, 
though the latter seems the more probable. The motive is depicted in 
many art works, notably in the figure of a youth punching a bag which 
hangs from a tree on the Ficoroni cistain the Museo Kircheriano, Rome,°® 
and in that of another represented on the so-called Peter cista in the 
Museo Gregoriano Etrusco of the Vatican, whose engraved scenes show 
exercises of the palzstra.° “The same motive is seen also in a statuette 
in the Museo Chiaramonti of the Vatican, which is proved to be that 
of a boy boxer by the glove on the right hand.’ Here the boy is rep- 
resented with the right foot far advanced and rising on the toes 
of both feet, the right shoulder being drawn back, the right forearm 
raised, and the left extended forwards. ‘The marble torso of a copy 
of the same original on a large scale is in Berlin. While Amelung 


1B. B., no. 613; Kalkmann, Die Prop. des Gesichts, Pls. I (statue) and II (head, two views). 
2B. B., nos. 132, 134-5; F. W., 462. 
‘Pit H. N., XXXIV, 50 md 79. For this view, see text to B. B., no. 614. Furtwaengler had 
Preceared aking as the sculptor of the O:l-pourer: Mp., p. 259. 
4Though winning in Ol. 65 (=520 B. C.), his statue was set up later by his son: P., VI, 10.1-3; 
Hyde, 93 and p. 42; Foerster, 137. The word oxtayayxely (lit. “to fight in the shade,’ and-hence 
to practice in the gymnasium) is used synonymously with xecpovoyery in the sense “to spar:” Plato, 
de Leg., VIII, 830 C; P., VI, 10. 3; Pollux, III, 150; etc. Cf. Paul’s phrase in I Corinthians, 9, 26. 
A derived meaning is “‘to fight with a shadow”’: ¢. g., Plato, Apol., 18 D; etc. Dio Chrysostom, Or., 
XXXII (367 M), speaks of xetpovouotvres as gymnasium practisers. See Krause, pp. 510 f. 
>The xapuixos was such a bag used by athletes: cf. the proverb, rpds kwpuKov yupvates bar, “to labor 
in vain”: Diog., 7, 54. The Ficoroni cista has been mentioned supra, p. 237, n. 4. The descrip- 
tion and use of the bag are given by Ph., 57. SHelbig, Fuehrer, 1, 704; Guide, II, 207. 
7TAmelung, Vat., I, 372 B, pp. 554-5 and Pl. LVIII; Clarac, 883, 2256. Itis 0.535 meter high. 
8Beschr., no. 469; Overbeck, Griech. Kunstmyth., III, Apollon, pp. 218 f. and fig. 14 (restored), 
interpreted the torso as that of an Apollo; but the Phrygian coin there pictured (Muenztafel, IV, 
31), of the time of Lucius Verus, may merely show thatthe motive later was transferred to the god. 
