View source for Boxer at Rest

{{Short description|Hellenistic Greek bronze sculpture}}
{{Infobox sculpture
| other_title_2 = Boxer of the Quirinal
| other_title_1 = Terme Boxer
| image_file = Púgil en repòs (s. IV a.C.), Museu Nacional Romà (Palau Massimo), Roma (Vista general).jpg
| image_upright = 1.1
| title = Boxer at Rest
| artist = 
| year = 330 to 50 BC
| medium = [[Bronze statue]]
| city = [[Rome]], Italy
| museum = [[Palazzo Massimo alle Terme]]
}}
The '''''Boxer at Rest''''', also known as the '''''Terme Boxer''''', '''''Seated Boxer''''', '''''Defeated Boxer''''', or '''''Boxer of the Quirinal''''', is a bronze sculpture, a [[Hellenistic art|Hellenistic]] Greek original,<ref>{{cite book | url=https://books.google.com/books?id=DvYBEAAAQBAJ&dq=boxer+at+rest+Roman+copy&pg=PA273 | title=Greek Lyric Poetry and Its Influence: Texts, Iconography, Music and Cinema | isbn=9781527560468 | last1=Salazar | first1=Alejandro Cantarero de | last2=Santos | first2=Alicia Esteban | date=6 October 2020 | publisher=Cambridge Scholars }}</ref> of a sitting nude [[Ancient Greek boxing|boxer]] at rest, still wearing his himantes ({{langx|grc|ἱμάντες|himántes}}, plural of {{langx|grc|ἱμάς|himás|a leathern strap or thong|label=none}}<ref>{{LSJ|i(ma/s|ἱμάς|ref}}</ref>), a type of leather hand-wrap.  It has been given various dates within the period of about 330 to 50 [[Before Christ|BC]].  It was excavated in Rome in 1885, and is now in the collection of the [[National Museum of Rome]], normally displayed in the [[Palazzo Massimo alle Terme]].<ref name=":0">{{Cite book|last1=Gardner|first1=Helen|last2=Kleiner|first2=Fred S.|url=https://www.worldcat.org/oclc/894921256|title=Gardner's art through the ages: a global history|year=2013 |isbn=978-0-8400-3078-8|edition=14th [revised and enlarged]|location=Australia|oclc=894921256}}</ref>

The ''Boxer at Rest'' is one of the finest examples of [[bronze sculpture]]s 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 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.

==Discovery==
The Boxer is one of two unrelated [[bronze sculpture|bronzes]] (the other being the unidentified ''[[Hellenistic Prince]]'') discovered on the slopes of the [[Quirinal Hill|Quirinal]] within a month of each other in 1885, possibly from the remains of the [[Baths of Constantine (Rome)|Baths of Constantine]]. It appears that both had been carefully buried in antiquity.  The archaeologist [[Rodolfo Lanciani]], who was present at the sculpture's discovery, wrote:<ref>Lanciani, ''Ancient Rome in Light of Recent Discoveries'' (1888:305–306), quoted in [http://www.metmuseum.org/about-the-museum/now-at-the-met/features/2013/the-boxer Sean Hemingway, "The Boxer: an ancient masterpiece comes to the Met", 2013]; accessed 29 June 2013.</ref>

<blockquote>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 magnificent specimen of a semi-barbaric athlete, coming slowly out of the ground, as if awakening from a long repose after his gallant fights.</blockquote>

==Description and interpretation ==
[[File:Experimental color reconstruction of the two bronzes from the Quirinal hill in Rome.jpg|thumb|Experimental color reconstruction of the bronze statues from the Quirinal, Liebieghaus Polychromy Research Project (Brinkmann & Koch-Brinkmann)]]

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 [[Infibulation (ancient athletics)|kynodesme]], [[cauliflower ear]]s, broken nose, [[Morton's toe]] and a mouth suggesting broken teeth.<ref name=":0" /><ref>{{cite news |title=The Story Behind the 'Greek Foot' and its Medical Explanation |url=https://greekreporter.com/2022/08/04/greek-foot-medical-explanation/ |work=[[Greek Reporter]]}}</ref> The boxer was also depicted as bearded, which would have been a typical characteristic of ancient boxers.<ref>{{Cite journal|last=Arenas|first=Amelia|date=1999|title=The Boxer|journal=Arion: A Journal of Humanities and the Classics|volume=7|pages=120–126|jstor=}}</ref> [[R.R.R. Smith]] believes that the statue does not show a true portrait: this is genre realism, individuality removed in favor of a generic character of "boxer".<ref>{{cite book|last1=Smith|first1=R. R. R.|title=Hellenistic Sculpture|url=https://archive.org/details/hellenisticsculp00smit|url-access=registration|date=1991|location=London|pages=[https://archive.org/details/hellenisticsculp00smit/page/54 54–55]|isbn=978-0-500-20249-4 }}</ref> A reconstruction project executed by the Frankfurt [[Liebieghaus]] Polychromy Research Project and headed by [[Vinzenz Brinkmann]] follows the interpretation of Otto Rossbach (1898)<ref>Otto Rossbach: ''Amykos.'' In: ''Festschrift für Otto Benndorf zu seinem 60. Geburtstage gewidmet von Schülern, Freunden und Fachgenossen.'' A. Hölder, Vienna 1898, pp. 148–152 ([https://archive.org/details/bub_gb_1dPlAAAAMAAJ/page/n175/mode/1up digital copy]).</ref> and Phyllis L. Williams (1945)<ref>Phyllis L. Williams: ''Amykos and the Dioskouroi.'' In: ''[[American Journal of Archaeology]].'' Bd. 49, Nr. 3, 1945, S. 330–347, {{doi|10.2307/499627}}</ref> and identifies the statue as [[Amykos]], King of the Bebryces.<ref>[[Vinzenz Brinkmann]], Ulrike Koch-Brinkmann: ''Die sogenannten Quirinalsbronzen und der Faustkampf von Amykos mit dem Argonauten Polydeukes. Ein archäologisches Experiment.'' In: Vinzenz Brinkmann (ed.): ''Medeas Liebe und die Jagd nach dem Goldenen Vlies.'' Exhibition catalogue Liebieghaus Skulpturensammlung, Frankfurt 2018. Hirmer, Munich 2018, pp. 80–97.</ref><ref>https://youtube.com/watch?v=jHvemlFGMkA, The Quirinal Bronzes reconstruction project (Making of) on YouTube</ref>

In 1989, both bronzes were meticulously conserved by Nikolaus Himmelmann, in preparation for their exhibition at the [[Akademisches Kunstmuseum]] in [[Bonn]].<ref>{{cite book|last1=Himmelmann|first1=Nikolaus|title=Herrscher und Athlet: Die Bronzen vom Quirinal|date=1998|publisher=Olivetti|location=Milan}}</ref> The sculpture is soldered together from eight segments, separately cast through the [[Lost wax process|lost-wax process]]; 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 ''Boxer'' was carefully buried to preserve its talismanic value, when the Baths were abandoned after the [[Goths]] cut the aqueducts that fed them.<ref>Hemingway 2013.</ref> These baths remained mostly unused until the 6th and 7th century when pilgrims being treated nearby in the [[Xenodochium]] of ''Santi Nereo ed Achilleo'' were buried at the location of the baths.<ref>{{Cite book|last=Piranomonte|first=Marina|url=https://www.worldcat.org/oclc/233929517|title=The Baths of Caracalla : guide|date=2008|publisher=Electa|others=Italy. Soprintendenza speciale per i beni archeologici di Roma|isbn=978-88-370-6302-3|edition=1st|location=Milano|oclc=233929517}}</ref>

The statue was displayed in the United States for the first time from June to July 2013 at the [[Metropolitan Museum of Art]] in New York City as part of the "Year of Italian Culture in the United States".<ref>{{cite web|url=http://www.italyinus2013.org/en/art/2013/06/|archiveurl=https://web.archive.org/web/20130620020421/http://www.italyinus2013.org/en/art/2013/06/|title=Art – June 2013 – Italy in US 2013: Year of Italian Culture in the United States|archivedate=20 June 2013|work=italyinus2013.org}}</ref>
{{gallery
|mode=packed
|height=170 
|File:Boxer of Quirinal, Greek Hellenistic bronze sculpture of a sitting nude boxer at rest, 100-50 BC, Palazzo Massimo alle Terme, Rome (13332932055).jpg|Front
|File:Púgil Massimo 06.JPG|Head
|File:Boxer of quirinalHurtEar.jpg|[[Cauliflower ear]]
|File:Boxer of Quirinal, Greek Hellenistic bronze sculpture of a sitting nude boxer at rest, 100-50 BC, Palazzo Massimo alle Terme, Rome (28409696654).jpg|[[Morton's toe]]
|File:Boxer of Quirinal, Greek Hellenistic bronze sculpture of a sitting nude boxer at rest, 100-50 BC, Palazzo Massimo alle Terme, Rome (13333064973).jpg|''[[cestus (boxing)|Cestus]]''
}}

==Reception==
{{external media | width = 210px | float = right | headerimage=[[File:Thermae boxer Massimo Inv1055 n7.jpg|210px]] |video1 = [https://smarthistory.org/apollonius-boxer-at-rest/ Apollonius's Boxer at Rest], [[Smarthistory]]<ref name="smarth">{{cite web | title =Apollonius's Boxer at Rest | publisher =[[Smarthistory]] at [[Khan Academy]] | date = | url =http://smarthistory.khanacademy.org/apolloniuss-boxer-at-rest.html | accessdate =February 18, 2013 | archive-date =November 10, 2014 | archive-url =https://web.archive.org/web/20141110075233/http://smarthistory.khanacademy.org/apolloniuss-boxer-at-rest.html | url-status =dead }}</ref> }}

The literary and aesthetic reception of the statue continues to be of high regard for its aesthetic virtues. In 1991, [[Thom Jones]] 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, [[Theagenes of Thasos|Theogenes]]. 

During the time of its display in New York during the summer of 2013 (ended 20 July), ''New York'' magazine published a full page dedication to the special qualities and attributes of the statue by [[Jerry Saltz]].<ref>{{Cite web |last=Saltz |first=Jerry |date=2013-06-28 |title=Jerry Saltz on the Met's Incredible Boxer at Rest Sculpture |url=https://www.vulture.com/2013/06/jerry-saltz-on-the-boxer-at-the-met.html |access-date=2024-09-23 |website=Vulture |language=en}}</ref> Saltz described 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 [[Kynodesme|infibulated]] 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 [[Francisco Goya|Goya]]'s ''[[The Colossus (painting)|Giant]]'' as well as comparison with "[[Diego Velázquez|Velazquez]] and [[Rembrandt]]", as Saltz completes his list.

The Italian poet [[Gabriele Tinti (writer)|Gabriele Tinti]] has written essays and some poems on sculpture and presented a series of readings in front of the statue at the [[J. Paul Getty Museum]] with the actor [[Robert Davi]] and at the [[National Roman Museum]] with the actor [[Franco Nero]].<ref>https://www.youtube.com/watch?v=379fr-ZlMQQ, National Roman Museum</ref> 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.<ref> B. Brennan "The Boxing Writer Paul Gallico on the Terme Boxer," American Journal of Archaeology 126.1 (2022): 35–51. </ref>

== References ==
{{Reflist}}

== External links ==
{{Commons category|Boxer of Quirinal}}
*[https://sketchfab.com/3d-models/the-boxer-2016-1ce0340711854842822e4bf0146b1e1a 3D preview] at [[Sketchfab]]

{{DEFAULTSORT:Boxer at Rest}}
{{Museo Nazionale Romano}}
[[Category:4th-century BC sculptures]]
[[Category:Ancient Greek metalwork]]
[[Category:Boxing sculptures]]
[[Category:Collection of the National Roman Museum]]
[[Category:Hellenistic and Roman bronzes]]
[[Category:Nude sculptures of men]]
[[Category:Bronze sculptures]]