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476:. Paul Gallico, the American boxing commentator who was himself an amateur boxer, examined the statue in 1935. On the basis of this he concluded that the Terme Boxer was a left-handed slugger who faced a fast-moving and right-handed opponent who circled him and wore him down with punches to Terme Boxer's right while avoiding his left. Thus the Terme Boxer could not land his devastating knock-out punch. Gallico's assessment was forensic, and based on the pattern of wounds which are all on the Terme Boxer's right - some blows smashed into the right side of his face and others hit his right shoulder and arm. The Terme Boxer must have tried to protect his head by raising his right arm and the wounds there are interpreted as defensive. Gallico who had called many prizefights concluded that the Terme Boxer was worn down and brought to exhaustion, as the statue shows. Gallico believed that the Terme Boxer statue depicts the boxer as having lost the contest.
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270:; the joins have been filed and finished to be virtually invisible. The lips and wounds and scars about the face were originally inlaid with copper, and further copper inlays on the right shoulder, forearm, caestus and thigh represented drops and trickles of blood. The fingers and toes were worn from being rubbed by passers-by in ancient times, which has suggested that the
430:, the author of this magazine article enumerated the six distinctive features of the statue as follows: (i) The Pose, distinct for its massiveness and "elemental" form, (ii) The Face, noted for the large brow and columnar neck, (iii) The Blood, noted by its inlaid copper upon the bronze statue itself, (iv) The Scarred Genitals, distinct for being
209:
I have witnessed, in my long career in the active field of archaeology, many discoveries; I have experienced surprise after surprise; I have sometimes and most unexpectedly met with real masterpieces; but I have never felt such an extraordinary impression as the one created by the sight of this
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to have survived from the ancient world; survivals from the period are rare, as they were easily melted down and transformed into new objects. The work comes from a period in Greek art where there is a movement away from idealized heroic depictions of the body and youth, and an exploration of
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wrote "The
Pugilist at Rest", a short story which includes the aesthetic reflection upon the statue's rare quality as seen through the eyes of a worn and weary boxer contemplating its inspiration. He suggested that the sitter may be the famed Ancient boxer,
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for cultural and aesthetic purposes of ancient times, (v) The Hands, noted for being astounding yet gentle at the same time, and (vi) The
Foresight, referring to the sculptor's strength of vision which resembles and conjures
175:
emotional as well as psychological themes and greater realism. These traits are typical of
Hellenistic art and thoroughly displayed in this sculpture, making it a hallmark of the Hellenistic style.
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believes that the statue does not show a true portrait: this is genre realism, individuality removed in favor of a generic character of "boxer". A reconstruction project executed by the
Frankfurt
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The statue is a masterpiece of
Hellenistic athletic professionalism, with a top-heavy over-muscled torso and scarred and bruised face, penis bound by a
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Experimental color reconstruction of the bronze statues from the
Quirinal, Liebieghaus Polychromy Research Project (Brinkmann & Koch-Brinkmann)
859:
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and a mouth suggesting broken teeth. The boxer was also depicted as bearded, which would have been a typical characteristic of ancient boxers.
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magnificent specimen of a semi-barbaric athlete, coming slowly out of the ground, as if awakening from a long repose after his gallant fights.
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cut the aqueducts that fed them. These baths remained mostly unused until the 6th and 7th century when pilgrims being treated nearby in the
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151:, 'a leathern strap or thong'), a type of leather hand-wrap. It has been given various dates within the period of about 330 to 50
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Die sogenannten
Quirinalsbronzen und der Faustkampf von Amykos mit dem Argonauten Polydeukes. Ein archäologisches Experiment.
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The literary and aesthetic reception of the statue continues to be of high regard for its aesthetic virtues. In 1991,
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B. Brennan "The Boxing Writer Paul
Gallico on the Terme Boxer," American Journal of Archaeology 126.1 (2022): 35-51.
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In 1989, both bronzes were meticulously conserved by
Nikolaus Himmelmann, in preparation for their exhibition at the
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magazine published on 15 July 2013 a full page dedication to the special qualities and attributes of the statue.
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has written essays and some poems on sculpture and presented a series of readings in front of the statue at the
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follows the interpretation of Otto
Rossbach (1898) and Phyllis L. Williams (1945) and identifies the statue as
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Festschrift für Otto Benndorf zu seinem 60. Geburtstage gewidmet von Schülern, Freunden und Fachgenossen.
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Exhibition catalogue Liebieghaus Skulpturensammlung, Frankfurt 2018. Hirmer, Munich 2018, p. 80–97.
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808:. Italy. Soprintendenza speciale per i beni archeologici di Roma (1st ed.). Milano: Electa.
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The statue was displayed in the United States for the first time from June to July 2013 at the
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was carefully buried to preserve its talismanic value, when the Baths were abandoned after the
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838:"Art - June 2013 - Italy in US 2013: Year of Italian Culture in the United States"
201:. It appears that both had been carefully buried in antiquity. The archaeologist
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in New York City as part of the "Year of Italian Culture in the United States".
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Sean Hemingway, "The Boxer: an ancient masterpiece comes to the Met", 2013
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Greek Lyric Poetry and Its Influence: Texts, Iconography, Music and Cinema
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Salazar, Alejandro Cantarero de; Santos, Alicia Esteban (6 October 2020).
155:. It was excavated in Rome in 1885, and is now in the collection of the
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within a month of each other in 1885, possibly from the remains of the
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768:, The Quirinal Bronzes reconstruction project (Making of) on YouTube
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623:"The Story Behind the "Greek Foot" and its Medical Explanation"
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205:, who was present at the sculpture's discovery, wrote:
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754:Medeas Liebe und die Jagd nach dem Goldenen Vlies.
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559:Gardner's art through the ages: a global history
644:Arion: A Journal of Humanities and the Classics
780:Herrscher und Athlet: Die Bronzen vom Quirinal
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8:
893:https://www.youtube.com/watch?v=379fr-ZlMQQ
606:Ancient Rome in Light of Recent Discoveries
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683:: CS1 maint: location missing publisher (
590:: CS1 maint: location missing publisher (
286:were buried at the location of the baths.
247:Polychromy Research Project and headed by
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18:
556:Gardner, Helen; Kleiner, Fred S. (2013).
1119:Collection of the National Roman Museum
766:https://youtube.com/watch?v=jHvemlFGMkA
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705:A. Hölder, Vienna 1898, pp. 148–152 (
119:at rest, still wearing his himantes (
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642:Arenas, Amelia (1999). "The Boxer".
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805:The Baths of Caracalla : guide
193:) discovered on the slopes of the
187:(the other being the unidentified
183:The Boxer is one of two unrelated
115:Greek original, of a sitting nude
16:Hellenistic Greek bronze sculpture
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729:Bd. 49, Nr. 3, 1945, S. 330–347,
170:is one of the finest examples of
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453:", as Saltz completes his list.
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725:American Journal of Archaeology
215:Description and interpretation
1:
1124:Hellenistic and Roman bronzes
778:Himmelmann, Nikolaus (1998).
752:In: Vinzenz Brinkmann (ed.):
562:(14th ed.). Australia.
860:"Apollonius's Boxer at Rest"
802:Piranomonte, Marina (2008).
650:: 120–126 – via JSTOR.
445:as well as comparison with "
159:, normally displayed in the
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1058:House of the Vestals Hoards
1001:Ludovisi Battle sarcophagus
111:, is a bronze sculpture, a
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720:Amykos and the Dioskouroi.
608:(1888:305–306), quoted in
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400:Apollonius's Boxer at Rest
291:Metropolitan Museum of Art
161:Palazzo Massimo alle Terme
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69:Palazzo Massimo alle Terme
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748:, Ulrike Koch-Brinkmann:
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1028:Aphrodite of Menophantos
661:Smith, R. R. R. (1991).
612:; accessed 29 June 2013.
260:Akademisches Kunstmuseum
255:, King of the Bebryces.
1109:Ancient Greek metalwork
1063:Portonaccio sarcophagus
895:, National Roman Museum
537:A Greek–English Lexicon
284:Santi Nereo ed Achilleo
157:National Museum of Rome
959:Museo Nazionale Romano
957:Major exhibits at the
499:. Cambridge Scholars.
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718:Phyllis L. Williams:
665:Hellenistic Sculpture
528:Liddell, Henry George
470:National Roman Museum
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108:Boxer of the Quirinal
32:Boxer of the Quirinal
874:on November 10, 2014
462:J. Paul Getty Museum
199:Baths of Constantine
87:, also known as the
669:. London. pp.
1048:Hellenistic Prince
782:. Milan: Olivetti.
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190:Hellenistic Prince
1134:Bronze sculptures
1114:Boxing sculptures
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991:Ludovisi Dionysus
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842:italyinus2013.org
815:978-88-370-6302-3
746:Vinzenz Brinkmann
569:978-0-8400-3078-8
456:The Italian poet
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876:. Retrieved
872:the original
868:Khan Academy
864:Smarthistory
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50:330 to 50 BC
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474:Franco Nero
468:and at the
466:Robert Davi
432:infibulated
428:Jerry Saltz
280:Xenodochium
245:Liebieghaus
113:Hellenistic
90:Terme Boxer
28:Terme Boxer
1098:Categories
1043:Discobolus
969:Collection
918:3D preview
604:Lanciani,
480:References
413:Thom Jones
922:Sketchfab
824:233929517
679:cite book
586:cite book
578:894921256
451:Rembrandt
447:Velazquez
418:Theogenes
373:Reception
229:kynodesme
179:Discovery
130:romanized
422:New York
195:Quirinal
136:himántes
65:Location
699:Amykos.
540:at the
185:bronzes
132::
125:ἱμάντες
75:, Italy
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812:
576:
566:
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362:Cestus
253:Amykos
55:Medium
671:54–55
442:Giant
308:Front
276:Goths
272:Boxer
148:himás
117:boxer
105:, or
880:2013
820:OCLC
810:ISBN
722:In:
701:In:
685:link
592:link
574:OCLC
564:ISBN
522:ἱμάς
501:ISBN
449:and
437:Goya
320:Head
264:Bonn
166:The
142:ἱμάς
81:The
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