FOREARM OF BOXER
Mycenae,1 Fig. 346. A similar motive occurs, indeed, on a seal-impression
from Hagia Triada (Fig. 347),z in connexion with what, from the insertion
of a theatral column, appears to have been some kind of gladiatorial con-
Fig. 346. Armed Combat in Mountain
Glen : Gold Signet from IVth Shaft Grave,
Fig. 347. Scene of Gladiatorial Combat in
Arena : Clay Sealing, H. Triada. (f)
test, the fallen champion in this case resting on his left arm. It is the same
motive, which—as recorded at a much later date by Pergamene Art—is
familiar to the world in ' the dying Gaul'.
forceful fragment Fig-.
348 a, may also belong
to a pugilistic scene. It
consists of the outer side
of the left right elbow
and upper half of the
forearm, strongly bent
and with the biceps
as will be seen from the
section,Fig.348 b. 'The
disposition and form of
the olecranon process of the ulna and the external condyle of the humerus
are rendered with wonderful correctness.'3 From the angular position in
which the arm is held it looks as if we have to do with the action, so
constantly depicted in the case of Minoan boxers, in which one arm is drawn
of M., i, p. 691,
Fig. 348 b.
Section across Biceps of Man's Arm shown in
Fig. 348 a.
J Reproduced from P. of M., i. p. 691,
2 Halbherr, Mon. Ant., xiii, p. 45, Fig. 41,
and PI. 11. See, too, P.
Fig. 512, here reproduced.
3 Note by Professor Arthur Thomson.