This (or the fourth form of glove) would also seem to have been that offered by Entellus to Dares in the fifth book of the Æneid, though the “knobs of brass,” “blunt points of iron,” “plummets of lead,” and other superfluities of barbarity, are not visible. Virgil’s description of the cæstus being the best, we here quote it:— “He (Entellus) threw Two pond’rous gauntlets down, in open view; Gauntlets, which Eryx wont in fight to wield, And sheathe his hands within the listed field. With fear and wonder seiz’d the crowd beholds The gloves of death,—with sev’n distinguish’d folds Of tough bull’s hides; the space within is spread With iron or with loads of heavy lead. Dares himself was daunted at the sight, Renounc’d his challenge, and refused to fight. Astonish’d at their weight, the hero stands, And pois’d the pond’rous engines in his hands.” In Smith’s “Antiquities of Greece and Rome,” and in Lenu’s “Costumes des Peuples de l’Antiquité,” are other patterns. The subjoined is from the last named work. [Illustration: FIG. 3. ] The last form (No. 4) we shall give is also from a bas-relief found at Herculaneum. It is certainly of a less destructive form, the knuckles and back of the hand being covered by the leather, held in its place by a thumbhole, and further secured by two crossed straps to the vellus, which ends half way up the forearm. A similar engraving forms the tail-piece to the fifty-first page of the second volume of the Abbé St. Non’s “Voyage Pittoresque,” already quoted. [Illustration: FIG. 4. ] The AMPHOTIDES, a helmet or head-guard, to secure the temporal bones and arteries, encompassed the ears with thongs and ligatures, which were buckled either under the chin or behind the head. They bore some resemblance to the head guards used in modern broadsword and stick play, but seem to have fitted close. They were made of hides of bulls, studded with knobs of iron, and thickly quilted inside to dull the concussion of the blows. Though it may be doubted whether the amphotides were introduced until a later period of the pugilistic era, yet as their representation would prevent the faces or heads of the combatants being seen, sculptors and fresco painters would leave them out unhesitatingly, as they do head-dresses, belts, reins, horses’ harness, etc., regardless of reality, and seeking only what they deemed high art in their representations. The search after traces of boxing among the barbarism of the Middle Ages, with their iron cruelty and deadly warfare—not unredeemed, however, by rude codes of honour, knightly courtesy, and chivalrous gallantry, in defence of the weak and in honour of the fair—would not be worth the while. The higher orders jousted and tilted with lance, mace, and sword, the lower fought with sand-bags and the quarter-staff.