is afforded by a small wrestler group, which decorates the rim of a bronze bowl from Borsdorf.[1641] This is a poorly wrought Etruscan work of fifth-century B. C. Greek origin. The two wrestlers have already gripped and their heads are close together, though the lunge in each case is much exaggerated. Similar are the two groups on the rim of a bronze bowl in the Museum of Fine Arts, Boston.[1642] A third-century B. C. Etruscan cista in the Metropolitan Museum,[1643] has a handle on the lid in the form of two nude wrestlers, whose bodies are inclined toward one another, their heads in contact, and their arms locked behind their heads. Groups of wrestlers in similar attitudes commonly appear as cista handles.[1644] A portion of a bronze group of wrestlers was dredged from the sea near Kythera and is now in Athens.[1645] The heave is represented by a metope from the Theseion representing the wrestling bout between Theseus and Kerkyon.[1646] A later moment is seen in a bronze wrestling-group in Paris.[1647] The cross-buttocks is illustrated by a small Hellenistic bronze group in the collection of James Loeb in Munich, of which five other copies are known.[1648] Here two athletes, one bearded and the other beardless, are just ending the bout. The youth is in the power of the man, who stands behind him and presses him down by holding his arms backward. All the other replicas differ from the Loeb example in that the victor has both legs and not one in front of the right leg of the vanquished wrestler. A good illustration of tripping is seen in another related series of groups known to us in five bronze copies. These represent a wrestler on the ground supporting himself on his left arm, while over him stands the victor, whose left foot is twisted around the other’s right. These groups are, like the preceding, also Roman provincial copies of a Hellenistic original.[1649] The two groups are very similar, the only real difference being that the vanquished wrestler in the second series still has his left arm free and holds himself up on his right knee. Both series seem to have been influenced by the marble pancratiast group in the Uffizi (Pl. 25).[1650] The head of an athlete in the Museo delle Terme, Rome,[1651] shows by its strongly projecting neck that it comes from the statue either of a runner ready to start or of a wrestler about to grip his adversary. The face is fourth-century B. C. Attic in character and the head may, therefore, come from Euphranor’s circle. Pliny speaks of a panting wrestler (_luctator anhelans_) by the statuary Naukeros, which must have exhibited the contestant in intense movement.[1652] It might have represented him after victory, as in the painting of Parrhasios discussed above, which pictured a hoplitodrome after the race, breathing hard.[1653] Pliny also mentions a painting of a wrestler by Antidotos without describing it.[1654] As we have already remarked, doubtless some of the _apoxyomenoi_ and _perixyomenoi_