Many of the old athletes could show bodies covered with wounds like that of an old soldier, and the writers of epigrams laughingly compared the bodies of athletes to sieves full of holes. And although they were forbidden purposely to give blows which threatened the life of an opponent, yet it sometimes happened, as in the notorious contest between Creugas and Damoxenus, that in the excitement of the moment the combatants forgot the established rules, and the professional contest turned into mere brutality, from which those of the spectators whose feelings were of a less coarse nature turned away with horror. For the contest they generally took their position in such a manner as not to turn their whole body to [Illustration: FIG. 132.] the enemy, but only one side, and, as a rule, the left. It was in the nature of the contest that a constant change between attack and defence must take place; the attitude represented on numerous monuments, in which the left arm is used for parrying, the right for attack, was the common one, not only as an opening, but repeated at each new phase, though a change would sometimes take place, and the right arm be used in defence, the left for attack. On the vase painting represented in Fig. 132 we see two boxers, whose huge proportions show that they were endowed with unusual strength; both have covered their arms and hands with heavy thongs, one is apparently countering with the left, the other parrying with the right; his left aims at his enemy’s head. On the right stands a winged Goddess of Victory, on the left a [Illustration: FIG. 133.] boxer with the thongs, raising his left arm to his head. The vase painting, Fig. 133, represents two boxers, one of whom aims a well-directed blow with his left at the breast of the other, who totters. On one side lie some poles, as well as implements belonging to the wrestling school, strigil, sponge, etc. There are also two boxers on the vase painting represented in Fig. 127. The one to the right has “got home” so effectively on the head with his left, that the other, who has tried to guard with his left arm, has to give ground, and seems to have had enough, for he is raising the first finger of his right hand, a sign that he begs for mercy and declares himself conquered. The thongs here are only worn on the right hand of one of the combatants, but this was probably merely an omission on the part of the painter.