There are fewer representations of boxing matches on vases than of almost any other Greek sport, despite its great popularity. Gardiner has collected a number of vase-paintings dating from the sixth to the fourth centuries B. C., which illustrate the different positions assumed by boxers in action—attack, slipping, ducking, and leg and arm movements. We reproduce two from r.-f. kylikes in the British Museum. In one by Douris (Fig. 54)[1697] we have, besides the group already mentioned of two athletes preparing to put on thongs, three pairs of boxers engaged in a bout. In two groups one of the contestants is seen from behind; in all three the boxers extend their left arms for guarding and draw the right back for hitting—the fists being level with the shoulders. In one group we see the beginning of the fight, in the other two the middle, perhaps, and the end of it, respectively. In the last scene one contestant has fallen to the ground on his knee, and his conqueror has swung his right hand far back for a final blow, only to be stopped by the other, who raises his finger in token of defeat. On the other vase we see, besides a scene from the pankration, two pairs of boxers sparring (Fig. 55).[1698] Here in one group the contestants do not have their fists doubled, but keep their fingers opened. On an Attic b.-f. Panathenaic panel-amphora in the University Museum in Philadelphia (Fig. 56),[1699] we see bearded boxers sparring, while a boxer with thongs in his right hand stands to the right, and a trainer with his rod at the left. Statues of victorious boxers at Olympia were represented either in motion, _i. e._, probably in the position of sparring, or in repose, like that of the boy boxer Kyniskos by the elder Polykleitos discussed in the preceding chapter. The same foot position visible on the _Kyniskos_ base[1700] occurs on two other Olympia bases, which, therefore, must have supported Polykleitan statues represented in repose. One of these, in the form of an _astragalos_, will be discussed further on in our treatment of pancratiast statues; the other supported the statue of the boy boxer Hellanikos of Lepreon, who won a victory in Ol. 89 (= 424 B. C.).[1701] In this case the statue was also life-size, the left foot was firmly placed, and the right was set back resting on the ball, the stride being a little longer than in the case of the _Kyniskos_. Three other Olympia bases supported statues of boxers represented in repose, those of the boy Tellon from the Arkadian town Oresthasion,[1702] of the Epidaurian Aristion by the elder Polykleitos,[1703] and of the Rhodian Eukles by Naukydes of the Polykleitan circle.[1704] Furtwaengler believed that a number of existing statues of the Hermes type reproduced the statue of Aristion, because of a similar foot position. Among them the Pentelic marble one in Lansdowne House, London, is the best preserved, and most faithfully reproduces the Polykleitan style.[1705]