character of "boxer". A reconstruction project executed by the Frankfurt Liebieghaus Polychromy Research Project and headed by Vinzenz Brinkmann follows the interpretation of Otto Rossbach (1898) and Phyllis L. Williams (1945) and identifies the statue as Amykos, King of the Bebryces. In 1989, both bronzes were meticulously conserved by Nikolaus Himmelmann, in preparation for their exhibition at the Akademisches Kunstmuseum in Bonn. The sculpture is soldered together from eight segments, separately cast through the 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. 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. 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". Reception 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, Theogenes. During the time of its display in New York during the summer of 2013 (ended 20 July), New York magazine published on 15 July 2013 a full page dedication to the special qualities and attributes of the statue. Jerry Saltz, the author of this magazine article enumerated 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 infibulated for cultural and