I.] APPENDIX. 337

The shoulders are drawn back and the chest protrudes, while, by this
movement, the skin is tightly drawn over the ribs, which therefore
become conspicuous. All lines of the statue converge towards the
chest, as in the Pallas of Velletri all lines meet in the forehead. This
will account for certain characteristics which Kohler ascribes especially
to the archaism in the work, when he says (/. c.): 'II carattere arcaico
si manifesta sopratutto nelP attitudine della figura, che e quella di un
uomo, che con stento torce le braccia e le spalle in dietro di modo che il petto
sporgc al di fuori, mentre le parti di dietro fin la dove finisce la schicna
sono molto incavate.' The veins, which are, in any case, accentuated
with a certain exaggeration, are most visible and protruding on the
shoulder and upper arm, a means, in the early times, of indicating which
parts are momentarily or habitually more especially exerted. On the
figures from the western pediment of the temple of Aegina the veins are
not generally indicated. But in a few instances, as the so-called Achilles1,
as Brunn has remarked, they are indicated on the right arm to suggest
the exertion of the wounded warrior who is struggling to rise.

The question then is narrowed to this: Is this athlete a pancratiast
or a pugilist ? At first I supposed that the statue represented a victor
in the pancration, the game which, as the name indicates, demanded
the greatest strength. The pancration5 was a combination of wrestling
and boxing: the combatants could use their hands and feet, they
fought standing, and continued fighting while on the ground; it was
the most violent of contests, easily became brutal, and not unfrequently
brought on the death of a combatant3. A very favourite and advan-
tageous method seems to have been for a pancratiast to get his
adversary in what is called with us 'in chancery'1,' to catch the oppo-

1 Brunn, Bcschrcibitng dcr kgl. Glyptothek zu Munchen, No. Co, p. 87.

2 Cf. Annali, II. 1830, Gerhard, p. 215, 216, &c.; Momimenti, PI. XXII. 56, s. 6,
also on bronze vase, Mon. v. PI. 25 (1857); Clarac, II. 616, 17, 1. PI. 200, 271 ;
Bouillon, Vol. III. suppl. PI. 11. No. 15. The Florence group of wrestlers' is also a
scene from the pancration, Real Callcria di Fir. ser. iv. Vol. in., PI. 122.

3 Paus. viii. 40.

4 On an Archaic tazza, Annali, ib. 1878, p. 34, tav. D., Heracles has the Titan
Anteus in chancery; the same Heracles and the lion (Gerhard, Auserl. Vascnb. IV.
Taf. 266), and Theseus and the Minotaur (Gerh. Avserl. Vasenb. Vol. III. Taf. 160 and
161). Prof. Colvin directed my attention to a vase published by Heydemann (third in
Hallischcs Winckelmanris Programm) in which a Lapith holds a Centaur in a similar
position. Cf. also Jahn, Bcschrcibung der Vasensamml. Kcinig Litdwitfs No. 307,
476, 1199, on which vases with mythological combats even the ephedros appears.
Motives from the palaestra were transferred to mythological scenes to illustrate the
contest for which the vase was a prize. I take this opportunity to make one general
hypothetical remark which is of importance for the general method of vase interpreta-

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