16" BOXER SKELETON hangable Halloween decoration jointed horror skeletal boxing

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Seller: sidewaysstairsco ✉️ (1,180) 100%, Location: Santa Ana, California, US, Ships to: US & many other countries, Item: 192687340852 16" BOXER SKELETON hangable Halloween decoration jointed horror skeletal boxing. Check out our other new & used items>>>>>HERE! (click me) FOR SALE: A hangable/semi-poseable, Halloween-themed decor item 16" JOINTED BOXER "DRESS UP SKELETON" FIGURE DETAILS: Add some eerie to your decorated home of horrors with a hangable boxer skeleton!  The jointed, poly vinyl plastic skeleton stands 16 inches tall and can either hang by the attached head loop or pose on a stair/bookshelf/mantle/etc. for maximum scare. This deceased boxer comes dressed in its boxing attire - complete with red boxing gloves and black-striped gold trunks. The bones are greyish-tan in color and are accented with "dirt and grime" (paint) to make them look aged. Hinged joints at the shoulders, hips, elbows, wrists, knees, ankles, and jaw! The skeleton needs to lean against something to remain upright as the many joints cause it to lay limp. The jaw can be put in opened-mouthed or closed position. CONDITION: Like-new with tags. Because the clothing pieces are handmade there are some slight variations in regards to cut and attachment. The boxing trunks have an inconspicuous hole around the butt area. Paint application may vary. The hang tag may have cut corner(s). Please see photos. *To ensure safe delivery all items are carefully packaged before shipping out.* THANK YOU FOR LOOKING. QUESTIONS? JUST ASK. *ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* "Halloween or Hallowe'en (a contraction of "All Hallows' evening"),[5] also known as Allhalloween,[6] All Hallows' Eve,[7] or All Saints' Eve,[8] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Hallows' Day. It begins the observance of Allhallowtide,[9] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[10][11] One theory holds that many Halloween traditions may have been influenced by ancient Celtic harvest festivals, particularly the Gaelic festival Samhain, which may have had pagan roots;[12][13][14][15] some scholars hold that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[16] Other academics believe, however, that Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[17][18][19][20] Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, as well as watching horror films.[21] In many parts of the world, the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead, remain popular,[22][23][24] although elsewhere it is a more commercial and secular celebration.[25][26][27] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.... Etymology The word appears as the title of Robert Burns' "Halloween" (1785), a poem traditionally recited by Scots. The word Halloween or Hallowe'en dates to about 1745[32] and is of Christian origin.[33] The word "Hallowe'en" means "Saints' evening".[34] It comes from a Scottish term for All Hallows' Eve (the evening before All Hallows' Day).[35] In Scots, the word "eve" is even, and this is contracted to e'en or een.[36] Over time, (All) Hallow(s) E(v)en evolved into Hallowe'en. Although the phrase "All Hallows'" is found in Old English, "All Hallows' Eve" is itself not seen until 1556.[35][37] History Gaelic influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[38] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[39] Historian Nicholas Rogers, exploring the origins of Halloween, notes that while "some folklorists have detected its origins in the Roman feast of Pomona, the goddess of fruits and seeds, or in the festival of the dead called Parentalia, it is more typically linked to the Celtic festival of Samhain, which comes from the Old Irish for 'summer's end'."[40] Samhain was the first and most important of the four quarter days in the medieval Gaelic calendar and was celebrated on 31 October – 1 November[41] in Ireland, Scotland and the Isle of Man.[42][43] A kindred festival was held at the same time of year by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival began on the evening before 7 November by modern reckoning (the half point between equinox and solstice).[44] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[45] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland. Samhain marked the end of the harvest season and the beginning of winter or the 'darker half' of the year.[46][47] Like Beltane/Calan Mai, it was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[48][49] Most scholars see the Aos Sí as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[50] The Aos Sí were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[51][52] At Samhain, it was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for the Aos Sí.[53][54][55] The souls of the dead were also said to revisit their homes seeking hospitality.[56] Places were set at the dinner table and by the fire to welcome them.[57] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures throughout the world.[58] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[59] Throughout Ireland and Britain, the household festivities included rituals and games intended to foretell one's future, especially regarding death and marriage.[60] Apples and nuts were often used in these divination rituals. They included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[61] Special bonfires were lit and there were rituals involving them. Their flames, smoke and ashes were deemed to have protective and cleansing powers, and were also used for divination.[46] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[45] It is suggested that the fires were a kind of imitative or sympathetic magic – they mimicked the Sun, helping the "powers of growth" and holding back the decay and darkness of winter.[57][62][63] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[64] In Wales, bonfires were lit to "prevent the souls of the dead from falling to earth".[65] Later, these bonfires served to keep "away the devil".[66] photograph A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[67] From at least the 16th century,[68] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[69] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to the custom of souling (see below). Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[70] It is suggested that the mummers and guisers "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[71] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[72] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[69] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked (or blackened) with ashes taken from the sacred bonfire.[68] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[69] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[69] Elsewhere in Europe, mumming and hobby horses were part of other yearly festivals. However, in the Celtic-speaking regions, they were "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[69] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween spread to England in the 20th century.[69] Traditionally, pranksters used hollowed out turnips or mangel wurzels often carved with grotesque faces as lanterns.[69] By those who made them, the lanterns were variously said to represent the spirits,[69] or were used to ward off evil spirits.[73][74] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[69] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of England and became generally known as jack-o'-lanterns.[69] Christian influence Today's Halloween customs are thought to have been influenced by Christian dogma and practices derived from it.[75] Halloween is the evening before the Christian holy days of All Hallows' Day (also known as All Saints' or Hallowmas) on 1 November and All Souls' Day on 2 November, thus giving the holiday on 31 October the full name of All Hallows' Eve (meaning the evening before All Hallows' Day).[76] Since the time of the early Church,[77] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[78] These three days are collectively called Allhallowtide and are a time for honoring the saints and praying for the recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[79] In 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs" on 13 May. This was the same date as Lemuria, an ancient Roman festival of the dead, and the same date as the commemoration of all saints in Edessa in the time of Ephrem the Syrian.[80] The feast of All Hallows', on its current date in the Western Church, may be traced to Pope Gregory III's (731–741) founding of an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[81][82] In 835, All Hallows' Day was officially switched to 1 November, the same date as Samhain, at the behest of Pope Gregory IV.[83] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[83] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[84] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[83][84] It is also suggested that the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health considerations regarding Roman Fever – a disease that claimed a number of lives during the sultry summers of the region.[85] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[86] The top photograph shows Bangladeshi Christians lighting candles on the headstone of a relative, while the bottom photograph shows Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard. By the end of the 12th century they had become holy days of obligation across Europe and involved such traditions as ringing church bells for the souls in purgatory. In addition, "it was customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls."[87] "Souling", the custom of baking and sharing soul cakes for all christened souls,[88] has been suggested as the origin of trick-or-treating.[89] The custom dates back at least as far as the 15th century[90] and was found in parts of England, Flanders, Germany and Austria.[58] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives.[90][91][92] Soul cakes would also be offered for the souls themselves to eat,[58] or the 'soulers' would act as their representatives.[93] As with the Lenten tradition of hot cross buns, Allhallowtide soul cakes were often marked with a cross, indicating that they were baked as alms.[94] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[95] On the custom of wearing costumes, Christian minister Prince Sorie Conteh wrote: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes to disguise their identities".[96] It is claimed that in the Middle Ages, churches that were too poor to display the relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[97][98] Some Christians continue to observe this custom at Halloween today.[99] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[100] While souling, Christians would carry with them "lanterns made of hollowed-out turnips".[101] It has been suggested that the carved jack-o'-lantern, a popular symbol of Halloween, originally represented the souls of the dead.[102] On Halloween, in medieval Europe, fires served a dual purpose, being lit to guide returning souls to the homes of their families, as well as to deflect demons from haunting sincere Christian folk.[103][104] Households in Austria, England and Ireland often had "candles burning in every room to guide the souls back to visit their earthly homes". These were known as "soul lights".[105][106][107] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which has often been depicted in church decoration.[108] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that "Christians were moved by the sight of the Infant Jesus playing on his mother's knee; their hearts were touched by the Pietà; and patron saints reassured them by their presence. But, all the while, the danse macabre urged them not to forget the end of all earthly things."[109] This danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and may have been the origin of modern-day Halloween costume parties.[101][110][111] In parts of Britain, these customs came under attack during the Reformation as some Protestants berated purgatory as a "popish" doctrine incompatible with their notion of predestination. Thus, for some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; without the doctrine of purgatory, "the returning souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits. As such they are threatening."[106] Other Protestants maintained belief in an intermediate state, known as Hades (Bosom of Abraham),[112] and continued to observe the original customs, especially souling, candlelit processions and the ringing of church bells in memory of the dead.[76][113] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl, with regard to the evil spirits, on Halloween, write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth."[114] In the 19th century, in some rural parts of England, families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him in a circle, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[115] Other customs included the tindle fires in Derbyshire and all-night vigil bonfires in Hertfordshire which were lit to pray for the departed.[116] The rising popularity of Guy Fawkes Night (5 November) from 1605 onward, saw many Halloween traditions appropriated by that holiday instead, and Halloween's popularity waned in Britain, with the noteworthy exception of Scotland.[117] There and in Ireland, they had been celebrating Samhain and Halloween since at least the early Middle Ages, and the Scottish kirk took a more pragmatic approach to Halloween, seeing it as important to the life cycle and rites of passage of communities and thus ensuring its survival in the country.[117] In France, some Christian families, on the night of All Hallows' Eve, prayed beside the graves of their loved ones, setting down dishes full of milk for them.[105] On Halloween, in Italy, some families left a large meal out for ghosts of their passed relatives, before they departed for church services.[118] In Spain, on this night, special pastries are baked, known as "bones of the holy" (Spanish: Huesos de Santo) and put them on the graves of the churchyard, a practice that continues to this day.[119] Spread to North America The annual Greenwich Village Halloween Parade in Manhattan is the world's largest Halloween parade. Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[120][121] although the Puritans of New England maintained strong opposition to the holiday, along with other traditional celebrations of the established Church, including Christmas.[122] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[123] It was not until mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America,[123] confined to the immigrant communities during the mid-19th century. It was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the first decade of the 20th century.[124] "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[125] The yearly Greenwich Village Halloween Parade was begun in 1974 by puppeteer and mask maker Ralph Lee of Greenwich Village; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[126] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including witches, skeletons, ghosts, cobwebs, and headstones. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[102][127] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[128] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[129]     On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[130] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[131][132] but immigrants to North America used the native pumpkin, which is both much softer and much larger – making it easier to carve than a turnip.[131] The American tradition of carving pumpkins is recorded in 1837[133] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[134] Decorated house in Weatherly, Pennsylvania The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein and Dracula) and classic horror films (such as Frankenstein and The Mummy).[135][136] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[137] skulls have therefore been commonplace in Halloween, which touches on this theme.[138] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[139] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "Bogies" (ghosts), influencing Robert Burns' "Halloween" (1785).[140] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[141] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[142] Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[89] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[143] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[144] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[145][146] Mumming practiced in Germany, Scandinavia and other parts of Europe,[147] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[148] Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising is first recorded in North America In England, from the medieval period,[149] up until the 1930s,[150] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[113] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[91] In the Philippines, the practice of souling is called Pangangaluwa and is practiced on All Hallow's Eve among children in rural areas.[21] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[21] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[151] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[132][152] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[151] The practice of guising at Halloween in North America is first recorded in 1911, where a newspaper in Kingston, Ontario, Canada reported children going "guising" around the neighborhood.[153] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[154] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[155] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[156] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[157] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[158] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[159] and the first use in a national publication occurring in 1939.[160] A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[119][161] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[162] such as those of children's literature, movies, scripture, and job roles.[163] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[164][165] Costumes Main article: Halloween costume Halloween costumes are traditionally modeled after supernatural figures such as vampires, monsters, ghosts, skeletons, witches, and devils.[89] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses. Halloween shop in Derry, Northern Ireland, selling masks Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[132] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[152] In Ireland the masks are known as 'false faces'.[166] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[157][167] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[168][169] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[89] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[170][171] Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[172] Such and other potentially offensive costumes have been met with increasing public disapproval.[173][174] Pet costumes According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumble bee in third place.[175] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[176] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[60] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[177] Some also suggest that they derive from Roman practices in celebration of Pomona.[89] Children bobbing for apples at Hallowe'en The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[178] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[179] Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[180][181] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[182][183] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[184] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[185] However, if they were destined to die before marriage, a skull would appear. The custom was widespread enough to be commemorated on greeting cards[186] from the late 19th century and early 20th century. Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[187][188][189][190][191] The game features prominently in the James Joyce short story "Clay" (1914).[192][193][194] In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[195] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[45] Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Main article: Haunted attraction (simulated) Humorous tombstones in front of a house in California File:US Utah Ogden 25th Street Halloween 2019.ogvPlay media Humorous display window in Historic 25th Street, Ogden, Utah Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[196] and the level of sophistication of the effects has risen as the industry has grown. The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[197][198] The House still exists, in the Hollycombe Steam Collection. It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[199] The haunted house as an American cultural icon can be attributed to the opening of the Haunted Mansion in Disneyland on 12 August 1969.[200] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[201] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[202] The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[203] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[204] On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle (Six Flags Great Adventure) caught fire. As a result of the fire, eight teenagers perished.[205] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[206][207] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[208][209][210] In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[211] The theme park haunts are by far the largest, both in scale and attendance.[212] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[213] A candy apple Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[214] While there is evidence of such incidents,[215] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[216] One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[217] It is considered fortunate to be the lucky one who finds it.[217] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. A jack-o'-lantern Halloween cake with a witches hat List of foods associated with Halloween:     Barmbrack (Ireland)     Bonfire toffee (Great Britain)     Candy apples/toffee apples (Great Britain and Ireland)     Candy apples, candy corn, candy pumpkins (North America)     Chocolate     Monkey nuts (peanuts in their shells) (Ireland and Scotland)     Caramel apples     Caramel corn     Colcannon (Ireland; see below)     Halloween cake     Sweets/candy     Novelty candy shaped like skulls, pumpkins, bats, worms, etc.     Roasted pumpkin seeds     Roasted sweet corn     Soul cakes     Pumpkin Pie Christian religious observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[218] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day, and serving pancakes or colcannon instead.[219] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[220] The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[221] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[222][223] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[224][225] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[226][227] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[228] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[229][230] Some of these practices include praying, fasting and attending worship services.[1][2][3]     O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[231] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[232] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[233] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[234] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[235] Others order Halloween-themed Scripture Candy to pass out to children on this day.[236][237] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[238] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[239] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[240] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[241] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[242] In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools in the United States.[243][244] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[245] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[246] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[247] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[248] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[249] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[250] Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[251] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[252][253] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[254] Hinduism Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[255] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[256] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[257] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[258] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[259] and "avoid Halloween, because of the interruptions from trick or treaters".[260] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[258] Around the world Main article: Geography of Halloween Halloween display in Kobe, Japan The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[151][261][262] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[263] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[151] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Ecuador, Chile,[264] Australia,[265] New Zealand,[266] (most) continental Europe, Finland,[267] Japan, and other parts of East Asia." (wikipedia.org) "Boxing is a combat sport in which two people, usually wearing protective gloves and other protective equipment such as hand wraps and mouthguards, throw punches at each other for a predetermined amount of time in a boxing ring. Amateur boxing is both an Olympic and Commonwealth Games sport and is a standard fixture in most international games—it also has its own World Championships. Boxing is overseen by a referee over a series of one-to-three-minute intervals called rounds. A winner can be resolved before the completion of the rounds when a referee deems an opponent incapable of continuing, disqualification of an opponent, or resignation of an opponent. When the fight reaches the end of its final round with both opponents still standing, the judges' scorecards determine the victor. In case both fighters gain equal scores from the judges, then professional bouts are considered a draw. In Olympic boxing, because a winner must be declared, judges award the contest to one fighter on technical criteria. While humans have fought in hand-to-hand combat since the dawn of human history, the earliest evidence of fist-fighting sporting contests date back to the ancient Near East in the 3rd and 2nd millennia BC.[2] The earliest evidence of boxing rules date back to Ancient Greece, where boxing was established as an Olympic game in 688 BC.[2] Boxing evolved from 16th- and 18th-century prizefights, largely in Great Britain, to the forerunner of modern boxing in the mid-19th century with the 1867 introduction of the Marquess of Queensberry Rules.... History Ancient history See also: Ancient Greek boxing and History of physical training and fitness A painting of Minoan youths boxing, from an Akrotiri fresco circa 1650 BC. This is the earliest documented use of boxing gloves. A boxing scene depicted on a Panathenaic amphora from Ancient Greece, circa 336 BC, British Museum The earliest known depiction of boxing comes from a Sumerian relief in Iraq from the 3rd millennium BC.[2] A relief sculpture from Egyptian Thebes (c. 1350 BC) shows both boxers and spectators.[2] These early Middle-Eastern and Egyptian depictions showed contests where fighters were either bare-fisted or had a band supporting the wrist.[2] The earliest evidence of fist fighting with the use of gloves can be found on Minoan Crete (c. 1500–1400 BC).[2] Various types of boxing existed in ancient India. The earliest references to musti-yuddha come from classical Vedic epics such as the Ramayana and Rig Veda. The Mahabharata describes two combatants boxing with clenched fists and fighting with kicks, finger strikes, knee strikes and headbutts.[3] Duels (niyuddham) were often fought to the death.[citation needed] During the period of the Western Satraps, the ruler Rudradaman—in addition to being well-versed in "the great sciences" which included Indian classical music, Sanskrit grammar, and logic—was said to be an excellent horseman, charioteer, elephant rider, swordsman and boxer.[4] The Gurbilas Shemi, an 18th-century Sikh text, gives numerous references to musti-yuddha. In Ancient Greece boxing was a well developed sport and enjoyed consistent popularity. In Olympic terms, it was first introduced in the 23rd Olympiad, 688 BC. The boxers would wind leather thongs around their hands in order to protect them. There were no rounds and boxers fought until one of them acknowledged defeat or could not continue. Weight categories were not used, which meant heavyweights had a tendency to dominate. The style of boxing practiced typically featured an advanced left leg stance, with the left arm semi-extended as a guard, in addition to being used for striking, and with the right arm drawn back ready to strike. It was the head of the opponent which was primarily targeted, and there is little evidence to suggest that targeting the body was common.[5] Boxing was a popular spectator sport in Ancient Rome.[6] Fighters protected their knuckles with leather thongs wrapped around their fists. Eventually harder leather was used and the thong became a weapon. Metal studs were introduced to the thongs to make the cestus. Fighting events were held at Roman amphitheatres. Early London prize ring rules A straight right demonstrated in Edmund Price's The Science of Defence: A Treatise on Sparring and Wrestling, 1867 Records of Classical boxing activity disappeared after the fall of the Western Roman Empire when the wearing of weapons became common once again and interest in fighting with the fists waned. However, there are detailed records of various fist-fighting sports that were maintained in different cities and provinces of Italy between the 12th and 17th centuries. There was also a sport in ancient Rus called Kulachniy Boy or "Fist Fighting". As the wearing of swords became less common, there was renewed interest in fencing with the fists. The sport would later resurface in England during the early 16th century in the form of bare-knuckle boxing sometimes referred to as prizefighting. The first documented account of a bare-knuckle fight in England appeared in 1681 in the London Protestant Mercury, and the first English bare-knuckle champion was James Figg in 1719.[7] This is also the time when the word "boxing" first came to be used. This earliest form of modern boxing was very different. Contests in Mr. Figg's time, in addition to fist fighting, also contained fencing and cudgeling. On 6 January 1681, the first recorded boxing match took place in Britain when Christopher Monck, 2nd Duke of Albemarle (and later Lieutenant Governor of Jamaica) engineered a bout between his butler and his butcher with the latter winning the prize. Early fighting had no written rules. There were no weight divisions or round limits, and no referee. In general, it was extremely chaotic. An early article on boxing was published in Nottingham, 1713, by Sir Thomas Parkyns, a successful Wrestler from Bunny, Nottinghamshire, who had practised the techniques he described. The article, a single page in his manual of wrestling and fencing, Progymnasmata: The inn-play, or Cornish-hugg wrestler, described a system of headbutting, punching, eye-gouging, chokes, and hard throws, not recognized in boxing today.[8] The first boxing rules, called the Broughton's rules, were introduced by champion Jack Broughton in 1743 to protect fighters in the ring where deaths sometimes occurred.[9] Under these rules, if a man went down and could not continue after a count of 30 seconds, the fight was over. Hitting a downed fighter and grasping below the waist were prohibited. Broughton encouraged the use of 'mufflers', a form of padded bandage or mitten, to be used in 'jousting' or sparring sessions in training, and in exhibition matches. Tom Molineaux (left) vs Tom Cribb in a re-match for the heavyweight championship of England, 1811 These rules did allow the fighters an advantage not enjoyed by today's boxers; they permitted the fighter to drop to one knee to end the round and begin the 30-second count at any time. Thus a fighter realizing he was in trouble had an opportunity to recover. However, this was considered "unmanly"[10] and was frequently disallowed by additional rules negotiated by the Seconds of the Boxers.[11] In modern boxing, there is a three-minute limit to rounds (unlike the downed fighter ends the round rule). Intentionally going down in modern boxing will cause the recovering fighter to lose points in the scoring system. Furthermore, as the contestants did not have heavy leather gloves and wristwraps to protect their hands, they used different punching technique to preserve their hands because the head was a common target to hit full out.[dubious – discuss][citation needed] Almost all period manuals have powerful straight punches with the whole body behind them to the face (including forehead) as the basic blows.[12][13][unreliable source?] The British sportswriter Pierce Egan coined the term "the Sweet Science" as an epithet for prizefighting — or more fully "the Sweet Science of Bruising" as a description of England’s bare-knuckle fight scene in the early nineteenth century.[14] The London Prize Ring Rules introduced measures that remain in effect for professional boxing to this day, such as outlawing butting, gouging, scratching, kicking, hitting a man while down, holding the ropes, and using resin, stones or hard objects in the hands, and biting.[15] Marquess of Queensberry rules (1867) In 1867, the Marquess of Queensberry rules were drafted by John Chambers for amateur championships held at Lillie Bridge in London for Lightweights, Middleweights and Heavyweights. The rules were published under the patronage of the Marquess of Queensberry, whose name has always been associated with them. File:Leonard Cushing Kinetograph 1894.ogvPlay media The June 1894 Leonard–Cushing bout. Each of the six one-minute rounds recorded by the Kinetograph was made available to exhibitors for $22.50.[16] Customers who watched the final round saw Leonard score a knockdown. There were twelve rules in all, and they specified that fights should be "a fair stand-up boxing match" in a 24-foot-square or similar ring. Rounds were three minutes with one-minute rest intervals between rounds. Each fighter was given a ten-second count if he was knocked down, and wrestling was banned. The introduction of gloves of "fair-size" also changed the nature of the bouts. An average pair of boxing gloves resembles a bloated pair of mittens and are laced up around the wrists.[17] The gloves can be used to block an opponent's blows. As a result of their introduction, bouts became longer and more strategic with greater importance attached to defensive maneuvers such as slipping, bobbing, countering and angling. Because less defensive emphasis was placed on the use of the forearms and more on the gloves, the classical forearms outwards, torso leaning back stance of the bare knuckle boxer was modified to a more modern stance in which the torso is tilted forward and the hands are held closer to the face. Late 19th and early 20th centuries Through the late nineteenth century, the martial art of boxing or prizefighting was primarily a sport of dubious legitimacy. Outlawed in England and much of the United States, prizefights were often held at gambling venues and broken up by police.[18] Brawling and wrestling tactics continued, and riots at prizefights were common occurrences. Still, throughout this period, there arose some notable bare knuckle champions who developed fairly sophisticated fighting tactics. Amateur Boxing Club, Wales, 1963 The English case of R v. Coney in 1882 found that a bare-knuckle fight was an assault occasioning actual bodily harm, despite the consent of the participants. This marked the end of widespread public bare-knuckle contests in England. The first world heavyweight champion under the Queensberry Rules was "Gentleman Jim" Corbett, who defeated John L. Sullivan in 1892 at the Pelican Athletic Club in New Orleans.[19] The first instance of film censorship in the United States occurred in 1897 when several states banned the showing of prize fighting films from the state of Nevada,[20] where it was legal at the time. Throughout the early twentieth century, boxers struggled to achieve legitimacy.[21] They were aided by the influence of promoters like Tex Rickard and the popularity of great champions such as John L. Sullivan. Modern boxing Robert Helenius (on the right) vs. Attila Levin (on the left) at Hartwall Arena in Helsinki, Finland on November 27, 2010. The modern sport arose from illegal venues and outlawed prizefighting and has become a multibillion-dollar commercial enterprise. A majority of young talent still comes from poverty-stricken areas around the world.[citation needed] Places like Mexico, Africa, South America, and Eastern Europe prove to be filled with young aspiring athletes who wish to become the future of boxing. Even in the U.S., places like the inner cities of New York, and Chicago have given rise to promising young talent. According to Rubin, "boxing lost its appeal with the American middle class, and most of who boxes in modern America come from the streets and are street fighters".[22] Rules Main article: Marquess of Queensberry Rules The Marquess of Queensberry rules have been the general rules governing modern boxing since their publication in 1867.[23] A boxing match typically consists of a determined number of three-minute rounds, a total of up to 9 to 12 rounds. A minute is typically spent between each round with the fighters in their assigned corners receiving advice and attention from their coach and staff. The fight is controlled by a referee who works within the ring to judge and control the conduct of the fighters, rule on their ability to fight safely, count knocked-down fighters, and rule on fouls. Up to three judges are typically present at ringside to score the bout and assign points to the boxers, based on punches and elbows that connect, defense, knockdowns, hugging and other, more subjective, measures. Because of the open-ended style of boxing judging, many fights have controversial results, in which one or both fighters believe they have been "robbed" or unfairly denied a victory. Each fighter has an assigned corner of the ring, where their coach, as well as one or more "seconds" may administer to the fighter at the beginning of the fight and between rounds. Each boxer enters into the ring from their assigned corners at the beginning of each round and must cease fighting and return to their corner at the signalled end of each round. A bout in which the predetermined number of rounds passes is decided by the judges, and is said to "go the distance". The fighter with the higher score at the end of the fight is ruled the winner. With three judges, unanimous and split decisions are possible, as are draws. A boxer may win the bout before a decision is reached through a knock-out; such bouts are said to have ended "inside the distance". If a fighter is knocked down during the fight, determined by whether the boxer touches the canvas floor of the ring with any part of their body other than the feet as a result of the opponent's punch and not a slip, as determined by the referee, the referee begins counting until the fighter returns to their feet and can continue. Some jurisdictions require the referee to count to eight regardless of if the fighter gets up before. Should the referee count to ten, then the knocked-down boxer is ruled "knocked out" (whether unconscious or not) and the other boxer is ruled the winner by knockout (KO). A "technical knock-out" (TKO) is possible as well, and is ruled by the referee, fight doctor, or a fighter's corner if a fighter is unable to safely continue to fight, based upon injuries or being judged unable to effectively defend themselves. Many jurisdictions and sanctioning agencies also have a "three-knockdown rule", in which three knockdowns in a given round result in a TKO. A TKO is considered a knockout in a fighter's record. A "standing eight" count rule may also be in effect. This gives the referee the right to step in and administer a count of eight to a fighter that the referee feels may be in danger, even if no knockdown has taken place. After counting the referee will observe the fighter, and decide if the fighter is fit to continue. For scoring purposes, a standing eight count is treated as a knockdown. Ingemar Johansson of Sweden KO's heavyweight champion Floyd Patterson, 26 June 1959. In general, boxers are prohibited from hitting below the belt, holding, tripping, pushing, biting, or spitting. The boxer's shorts are raised so the opponent is not allowed to hit to the groin area with intent to cause pain or injury. Failure to abide by the former may result in a foul. They also are prohibited from kicking, head-butting, or hitting with any part of the arm other than the knuckles of a closed fist (including hitting with the elbow, shoulder or forearm, as well as with open gloves, the wrist, the inside, back or side of the hand). They are prohibited as well from hitting the back, back of the head or neck (called a "rabbit-punch") or the kidneys. They are prohibited from holding the ropes for support when punching, holding an opponent while punching, or ducking below the belt of their opponent (dropping below the waist of your opponent, no matter the distance between). If a "clinch" – a defensive move in which a boxer wraps their opponent's arms and holds on to create a pause – is broken by the referee, each fighter must take a full step back before punching again (alternatively, the referee may direct the fighters to "punch out" of the clinch). When a boxer is knocked down, the other boxer must immediately cease fighting and move to the furthest neutral corner of the ring until the referee has either ruled a knockout or called for the fight to continue. Violations of these rules may be ruled "fouls" by the referee, who may issue warnings, deduct points, or disqualify an offending boxer, causing an automatic loss, depending on the seriousness and intentionality of the foul. An intentional foul that causes injury that prevents a fight from continuing usually causes the boxer who committed it to be disqualified. A fighter who suffers an accidental low-blow may be given up to five minutes to recover, after which they may be ruled knocked out if they are unable to continue. Accidental fouls that cause injury ending a bout may lead to a "no contest" result, or else cause the fight to go to a decision if enough rounds (typically four or more, or at least three in a four-round fight) have passed. Unheard of in the modern era, but common during the early 20th Century in North America, a "newspaper decision (NWS)" might be made after a no decision bout had ended. A "no decision" bout occurred when, by law or by pre-arrangement of the fighters, if both boxers were still standing at the fight's conclusion and there was no knockout, no official decision was rendered and neither boxer was declared the winner. But this did not prevent the pool of ringside newspaper reporters from declaring a consensus result among themselves and printing a newspaper decision in their publications. Officially, however, a "no decision" bout resulted in neither boxer winning or losing. Boxing historians sometimes use these unofficial newspaper decisions in compiling fight records for illustrative purposes only. Often, media outlets covering a match will personally score the match, and post their scores as an independent sentence in their report. Professional vs. amateur boxing Roberto Durán (right) held world championships in four weight classes: lightweight, welterweight, light middleweight and middleweight Throughout the 17th to 19th centuries, boxing bouts were motivated by money, as the fighters competed for prize money, promoters controlled the gate, and spectators bet on the result. The modern Olympic movement revived interest in amateur sports, and amateur boxing became an Olympic sport in 1908. In their current form, Olympic and other amateur bouts are typically limited to three or four rounds, scoring is computed by points based on the number of clean blows landed, regardless of impact, and fighters wear protective headgear, reducing the number of injuries, knockdowns, and knockouts.[24] Currently scoring blows in amateur boxing are subjectively counted by ringside judges, but the Australian Institute for Sport has demonstrated a prototype of an Automated Boxing Scoring System, which introduces scoring objectivity, improves safety, and arguably makes the sport more interesting to spectators. Professional boxing remains by far the most popular form of the sport globally, though amateur boxing is dominant in Cuba and some former Soviet republics. For most fighters, an amateur career, especially at the Olympics, serves to develop skills and gain experience in preparation for a professional career. Western boxers typically participate in one Olympics and then turn pro, Cubans and other socialist countries have an opportunity to collect multiple medals.[25] In 2016, professional boxers were admitted in the Olympic Games and other tournaments sanctioned by AIBA.[26] This was done in part to level the playing field and give all of the athletes the same opportunities government-sponsored boxers from socialist countries and post-Soviet republics have.[27] However, professional organizations strongly opposed that decision.[28][29] Amateur boxing Main article: Amateur boxing Nicola Adams is the first female boxer to win an Olympic gold medal. Here with Mary Kom of India. Amateur boxing may be found at the collegiate level, at the Olympic Games, Commonwealth Games, Asian Games, etc. In many other venues sanctioned by amateur boxing associations. Amateur boxing has a point scoring system that measures the number of clean blows landed rather than physical damage. Bouts consist of three rounds of three minutes in the Olympic and Commonwealth Games, and three rounds of three minutes in a national ABA (Amateur Boxing Association) bout, each with a one-minute interval between rounds. Competitors wear protective headgear and gloves with a white strip or circle across the knuckle. There are cases however, where white ended gloves are not required but any solid color may be worn. The white end is just a way to make it easier for judges to score clean hits. Each competitor must have their hands properly wrapped, pre-fight, for added protection on their hands and for added cushion under the gloves. Gloves worn by the fighters must be twelve ounces in weight unless the fighters weigh under 165 pounds (75 kg), thus allowing them to wear ten ounce gloves. A punch is considered a scoring punch only when the boxers connect with the white portion of the gloves. Each punch that lands cleanly on the head or torso with sufficient force is awarded a point. A referee monitors the fight to ensure that competitors use only legal blows. A belt worn over the torso represents the lower limit of punches – any boxer repeatedly landing low blows below the belt is disqualified. Referees also ensure that the boxers don't use holding tactics to prevent the opponent from swinging. If this occurs, the referee separates the opponents and orders them to continue boxing. Repeated holding can result in a boxer being penalized or ultimately disqualified. Referees will stop the bout if a boxer is seriously injured, if one boxer is significantly dominating the other or if the score is severely imbalanced.[30] Amateur bouts which end this way may be noted as "RSC" (referee stopped contest) with notations for an outclassed opponent (RSCO), outscored opponent (RSCOS), injury (RSCI) or head injury (RSCH). Professional boxing Main article: Professional boxing Firpo sending Dempsey outside the ring; painting by George Bellows. Professional bouts are usually much longer than amateur bouts, typically ranging from ten to twelve rounds, though four-round fights are common for less experienced fighters or club fighters. There are also some two- and three-round professional bouts, especially in Australia. Through the early 20th century, it was common for fights to have unlimited rounds, ending only when one fighter quit, benefiting high-energy fighters like Jack Dempsey. Fifteen rounds remained the internationally recognized limit for championship fights for most of the 20th century until the early 1980s, when the death of boxer Kim Duk-koo eventually prompted the World Boxing Council and other organizations sanctioning professional boxing to reduce the limit to twelve rounds. Headgear is not permitted in professional bouts, and boxers are generally allowed to take much more damage before a fight is halted. At any time, the referee may stop the contest if he believes that one participant cannot defend himself due to injury. In that case, the other participant is awarded a technical knockout win. A technical knockout would also be awarded if a fighter lands a punch that opens a cut on the opponent, and the opponent is later deemed not fit to continue by a doctor because of the cut. For this reason, fighters often employ cutmen, whose job is to treat cuts between rounds so that the boxer is able to continue despite the cut. If a boxer simply quits fighting, or if his corner stops the fight, then the winning boxer is also awarded a technical knockout victory. In contrast with amateur boxing, professional male boxers have to be bare-chested.[31] Boxing styles Definition of style "Style" is often defined as the strategic approach a fighter takes during a bout. No two fighters' styles are alike, as each is determined by that individual's physical and mental attributes. Three main styles exist in boxing: outside fighter ("boxer"), brawler (or "slugger"), and Inside fighter ("swarmer"). These styles may be divided into several special subgroups, such as counter puncher, etc. The main philosophy of the styles is, that each style has an advantage over one, but disadvantage over the other one. It follows the rock paper scissors scenario - boxer beats brawler, brawler beats swarmer, and swarmer beats boxer.[32] Boxer/out-fighter Heavyweight champion Muhammad Ali was a typical example of an out-fighter. A classic "boxer" or stylist (also known as an "out-fighter") seeks to maintain distance between himself and his opponent, fighting with faster, longer range punches, most notably the jab, and gradually wearing his opponent down. Due to this reliance on weaker punches, out-fighters tend to win by point decisions rather than by knockout, though some out-fighters have notable knockout records. They are often regarded as the best boxing strategists due to their ability to control the pace of the fight and lead their opponent, methodically wearing him down and exhibiting more skill and finesse than a brawler.[33] Out-fighters need reach, hand speed, reflexes, and footwork. Notable out-fighters include Muhammad Ali, Larry Holmes, Joe Calzaghe, Wilfredo Gómez, Salvador Sánchez, Cecilia Brækhus, Gene Tunney,[34] Ezzard Charles,[35] Willie Pep,[36] Meldrick Taylor, Ricardo "Finito" López, Floyd Mayweather Jr., Roy Jones Jr., Sugar Ray Leonard, Miguel Vázquez, Sergio "Maravilla" Martínez, Vitali Klitschko, Wladimir Klitschko and Guillermo Rigondeaux. This style was also used by fictional boxer Apollo Creed. Boxer-puncher A boxer-puncher is a well-rounded boxer who is able to fight at close range with a combination of technique and power, often with the ability to knock opponents out with a combination and in some instances a single shot. Their movement and tactics are similar to that of an out-fighter (although they are generally not as mobile as an out-fighter),[37] but instead of winning by decision, they tend to wear their opponents down using combinations and then move in to score the knockout. A boxer must be well rounded to be effective using this style. Notable boxer-punchers include Muhammad Ali, Canelo Álvarez, Sugar Ray Leonard, Roy Jones Jr., Wladimir Klitschko, Vasyl Lomachenko, Lennox Lewis, Joe Louis,[38] Wilfredo Gómez, Oscar De La Hoya, Archie Moore, Miguel Cotto, Nonito Donaire, Sam Langford,[39] Henry Armstrong,[40] Sugar Ray Robinson,[41] Tony Zale, Carlos Monzón,[42] Alexis Argüello, Érik Morales, Terry Norris, Marco Antonio Barrera, Naseem Hamed, Thomas Hearns, Julian Jackson and Gennady Golovkin. Counter puncher Counter punchers are slippery, defensive style fighters who often rely on their opponent's mistakes in order to gain the advantage, whether it be on the score cards or more preferably a knockout. They use their well-rounded defense to avoid or block shots and then immediately catch the opponent off guard with a well placed and timed punch. A fight with a skilled counter-puncher can turn into a war of attrition, where each shot landed is a battle in itself. Thus, fighting against counter punchers requires constant feinting and the ability to avoid telegraphing one's attacks. To be truly successful using this style they must have good reflexes, a high level of prediction and awareness, pinpoint accuracy and speed, both in striking and in footwork. Notable counter punchers include Muhammad Ali, Joe Calzaghe, Vitali Klitschko, Evander Holyfield, Max Schmeling, Chris Byrd, Jim Corbett, Jack Johnson, Bernard Hopkins, Laszlo Papp, Jerry Quarry, Anselmo Moreno, James Toney, Marvin Hagler, Juan Manuel Márquez, Humberto Soto, Floyd Mayweather Jr., Roger Mayweather, Pernell Whitaker, Sergio Gabriel Martinez and Guillermo Rigondeaux. This style of boxing is also used by fictional boxer Little Mac. Counter punchers usually wear their opponents down by causing them to miss their punches. The more the opponent misses, the faster they tire, and the psychological effects of being unable to land a hit will start to sink in. The counter puncher often tries to outplay their opponent entirely, not just in a physical sense, but also in a mental and emotional sense. This style can be incredibly difficult, especially against seasoned fighters, but winning a fight without getting hit is often worth the pay-off. They usually try to stay away from the center of the ring, in order to outmaneuver and chip away at their opponents. A large advantage in counter-hitting is the forward momentum of the attacker, which drives them further into your return strike. As such, knockouts are more common than one would expect from a defensive style. Brawler/slugger Famous brawler George Foreman A brawler is a fighter who generally lacks finesse and footwork in the ring, but makes up for it through sheer punching power. Many brawlers tend to lack mobility, preferring a less mobile, more stable platform and have difficulty pursuing fighters who are fast on their feet. They may also have a tendency to ignore combination punching in favor of continuous beat-downs with one hand and by throwing slower, more powerful single punches (such as hooks and uppercuts). Their slowness and predictable punching pattern (single punches with obvious leads) often leaves them open to counter punches, so successful brawlers must be able to absorb a substantial amount of punishment. However, not all brawler/slugger fighters are not mobile; some can move around and switch styles if needed but still have the brawler/slugger style such as Wilfredo Gómez, Prince Naseem Hamed and Danny García. A brawler's most important assets are power and chin (the ability to absorb punishment while remaining able to continue boxing). Examples of this style include George Foreman, Rocky Marciano, Julio César Chávez, Roberto Durán, Danny García, Wilfredo Gómez, Sonny Liston, John L. Sullivan, Max Baer, Prince Naseem Hamed, Ray Mancini, David Tua, Arturo Gatti, Micky Ward, Brandon Ríos, Ruslan Provodnikov, Michael Katsidis, James Kirkland, Marcos Maidana, Jake LaMotta, Manny Pacquiao, and Ireland's John Duddy. This style of boxing was also used by fictional boxers Rocky Balboa and James "Clubber" Lang. Brawlers tend to be more predictable and easy to hit but usually fare well enough against other fighting styles because they train to take punches very well. They often have a higher chance than other fighting styles to score a knockout against their opponents because they focus on landing big, powerful hits, instead of smaller, faster attacks. Oftentimes they place focus on training on their upper body instead of their entire body, to increase power and endurance. They also aim to intimidate their opponents because of their power, stature and ability to take a punch. Swarmer/in-fighter Henry Armstrong was known for his aggressive, non-stop assault style of fighting. In-fighters/swarmers (sometimes called "pressure fighters") attempt to stay close to an opponent, throwing intense flurries and combinations of hooks and uppercuts. Mainly Mexican, Irish, Irish-American, Puerto Rican, and Mexican-American boxers popularized this style. A successful in-fighter often needs a good "chin" because swarming usually involves being hit with many jabs before they can maneuver inside where they are more effective. In-fighters operate best at close range because they are generally shorter and have less reach than their opponents and thus are more effective at a short distance where the longer arms of their opponents make punching awkward. However, several fighters tall for their division have been relatively adept at in-fighting as well as out-fighting. The essence of a swarmer is non-stop aggression. Many short in-fighters use their stature to their advantage, employing a bob-and-weave defense by bending at the waist to slip underneath or to the sides of incoming punches. Unlike blocking, causing an opponent to miss a punch disrupts his balance, this permits forward movement past the opponent's extended arm and keeps the hands free to counter. A distinct advantage that in-fighters have is when throwing uppercuts, they can channel their entire bodyweight behind the punch; Mike Tyson was famous for throwing devastating uppercuts. Marvin Hagler was known for his hard "chin", punching power, body attack and the stalking of his opponents. Some in-fighters, like Mike Tyson, have been known for being notoriously hard to hit. The key to a swarmer is aggression, endurance, chin, and bobbing-and-weaving. Notable in-fighters include Henry Armstrong, Aaron Pryor, Julio César Chávez, Jack Dempsey, Shawn Porter, Miguel Cotto, Joe Frazier, Danny García, Mike Tyson, Manny Pacquiao, Rocky Marciano,[43] Wayne McCullough, James Braddock, Gerry Penalosa, Harry Greb,[44][45] David Tua, James Toney and Ricky Hatton. This style was also used by the Street Fighter character Balrog. Combinations of styles All fighters have primary skills with which they feel most comfortable, but truly elite fighters are often able to incorporate auxiliary styles when presented with a particular challenge. For example, an out-fighter will sometimes plant his feet and counter punch, or a slugger may have the stamina to pressure fight with his power punches. Old history of the development of boxing and its prevalence contribute to fusion of various types of martial arts and the emergence of new ones that are based on them. For example, a combination of boxing and sportive sambo techniques gave rise to a combat sambo. Style matchups Louis vs. Schmeling, 1936 There is a generally accepted rule of thumb about the success each of these boxing styles has against the others. In general, an in-fighter has an advantage over an out-fighter, an out-fighter has an advantage over a brawler, and a brawler has an advantage over an in-fighter; these form a cycle with each style being stronger relative to one, and weaker relative to another, with none dominating, as in rock paper scissors. Naturally, many other factors, such as the skill level and training of the combatants, determine the outcome of a fight, but the widely held belief in this relationship among the styles is embodied in the cliché amongst boxing fans and writers that "styles make fights." Brawlers tend to overcome swarmers or in-fighters because, in trying to get close to the slugger, the in-fighter will invariably have to walk straight into the guns of the much harder-hitting brawler, so, unless the former has a very good chin and the latter's stamina is poor, the brawler's superior power will carry the day. A famous example of this type of match-up advantage would be George Foreman's knockout victory over Joe Frazier in their original bout "The Sunshine Showdown". Although in-fighters struggle against heavy sluggers, they typically enjoy more success against out-fighters or boxers. Out-fighters prefer a slower fight, with some distance between themselves and the opponent. The in-fighter tries to close that gap and unleash furious flurries. On the inside, the out-fighter loses a lot of his combat effectiveness, because he cannot throw the hard punches. The in-fighter is generally successful in this case, due to his intensity in advancing on his opponent and his good agility, which makes him difficult to evade. For example, the swarming Joe Frazier, though easily dominated by the slugger George Foreman, was able to create many more problems for the boxer Muhammad Ali in their three fights. Joe Louis, after retirement, admitted that he hated being crowded, and that swarmers like untied/undefeated champ Rocky Marciano would have caused him style problems even in his prime. The boxer or out-fighter tends to be most successful against a brawler, whose slow speed (both hand and foot) and poor technique makes him an easy target to hit for the faster out-fighter. The out-fighter's main concern is to stay alert, as the brawler only needs to land one good punch to finish the fight. If the out-fighter can avoid those power punches, he can often wear the brawler down with fast jabs, tiring him out. If he is successful enough, he may even apply extra pressure in the later rounds in an attempt to achieve a knockout. Most classic boxers, such as Muhammad Ali, enjoyed their best successes against sluggers. An example of a style matchup was the historical fight of Julio César Chávez, a swarmer or in-fighter, against Meldrick Taylor, the boxer or out-fighter (see Julio César Chávez vs. Meldrick Taylor). The match was nicknamed "Thunder Meets Lightning" as an allusion to punching power of Chávez and blinding speed of Taylor. Chávez was the epitome of the "Mexican" style of boxing. Taylor's hand and foot speed and boxing abilities gave him the early advantage, allowing him to begin building a large lead on points. Chávez remained relentless in his pursuit of Taylor and due to his greater punching power Chávez slowly punished Taylor. Coming into the later rounds, Taylor was bleeding from the mouth, his entire face was swollen, the bones around his eye socket had been broken, he had swallowed a considerable amount of his own blood, and as he grew tired, Taylor was increasingly forced into exchanging blows with Chávez, which only gave Chávez a greater chance to cause damage. While there was little doubt that Taylor had solidly won the first three quarters of the fight, the question at hand was whether he would survive the final quarter. Going into the final round, Taylor held a secure lead on the scorecards of two of the three judges. Chávez would have to knock Taylor out to claim a victory, whereas Taylor merely needed to stay away from the Mexican legend. However, Taylor did not stay away, but continued to trade blows with Chávez. As he did so, Taylor showed signs of extreme exhaustion, and every tick of the clock brought Taylor closer to victory unless Chávez could knock him out. With about a minute left in the round, Chávez hit Taylor squarely with several hard punches and stayed on the attack, continuing to hit Taylor with well-placed shots. Finally, with about 25 seconds to go, Chávez landed a hard right hand that caused Taylor to stagger forward towards a corner, forcing Chávez back ahead of him. Suddenly Chávez stepped around Taylor, positioning him so that Taylor was trapped in the corner, with no way to escape from Chávez' desperate final flurry. Chávez then nailed Taylor with a tremendous right hand that dropped the younger man. By using the ring ropes to pull himself up, Taylor managed to return to his feet and was given the mandatory 8-count. Referee Richard Steele asked Taylor twice if he was able to continue fighting, but Taylor failed to answer. Steele then concluded that Taylor was unfit to continue and signaled that he was ending the fight, resulting in a TKO victory for Chávez with only two seconds to go in the bout. Equipment Since boxing involves forceful, repetitive punching, precautions must be taken to prevent damage to bones in the hand. Most trainers do not allow boxers to train and spar without wrist wraps and boxing gloves. Hand wraps are used to secure the bones in the hand, and the gloves are used to protect the hands from blunt injury, allowing boxers to throw punches with more force than if they did not use them. Gloves have been required in competition since the late nineteenth century, though modern boxing gloves are much heavier than those worn by early twentieth-century fighters. Prior to a bout, both boxers agree upon the weight of gloves to be used in the bout, with the understanding that lighter gloves allow heavy punchers to inflict more damage. The brand of gloves can also affect the impact of punches, so this too is usually stipulated before a bout. Both sides are allowed to inspect the wraps and gloves of the opponent to help ensure both are within agreed upon specifications and no tampering has taken place. A mouthguard is important to protect the teeth[46][47] and gums from injury, and to cushion the jaw, resulting in a decreased chance of knockout. Both fighters must wear soft soled shoes to reduce the damage from accidental (or intentional) stepping on feet. While older boxing boots more commonly resembled those of a professional wrestler, modern boxing shoes and boots tend to be quite similar to their amateur wrestling counterparts. Boxers practice their skills on several types of punching bags. A small, tear-drop-shaped "speed bag" is used to hone reflexes and repetitive punching skills, while a large cylindrical "heavy bag" filled with sand, a synthetic substitute, or water is used to practice power punching and body blows. The double-end bag is usually connected by elastic on the top and bottom and moves randomly upon getting struck and helps the fighter work on accuracy and reflexes. In addition to these distinctive pieces of equipment, boxers also use sport-nonspecific training equipment to build strength, speed, agility, and stamina. Common training equipment includes free weights, rowing machines, jump rope, and medicine balls. Boxers also use punch/focus mitts in which a trainer calls out certain combinations and the fighter strikes the mitts accordingly. This is a great exercise for stamina as the boxer isn't allowed to go at his own pace but that of the trainer, typically forcing the fighter to endure a higher output and volume than usual. In addition, they also allow trainers to make boxers utilize footwork and distances more accurately. Boxing matches typically take place in a boxing ring, a raised platform surrounded by ropes attached to posts rising in each corner. The term "ring" has come to be used as a metaphor for many aspects of prize fighting in general. Technique Main article: Boxing styles and technique Stance The modern boxing stance differs substantially from the typical boxing stances of the 19th and early 20th centuries. The modern stance has a more upright vertical-armed guard, as opposed to the more horizontal, knuckles-facing-forward guard adopted by early 20th century hook users such as Jack Johnson.     Upright stance     Semi-crouch     Full crouch In a fully upright stance, the boxer stands with the legs shoulder-width apart and the rear foot a half-step in front of the lead man. Right-handed or orthodox boxers lead with the left foot and fist (for most penetration power). Both feet are parallel, and the right heel is off the ground. The lead (left) fist is held vertically about six inches in front of the face at eye level. The rear (right) fist is held beside the chin and the elbow tucked against the ribcage to protect the body. The chin is tucked into the chest to avoid punches to the jaw which commonly cause knock-outs and is often kept slightly off-center. Wrists are slightly bent to avoid damage when punching and the elbows are kept tucked in to protect the ribcage. Some boxers fight from a crouch, leaning forward and keeping their feet closer together. The stance described is considered the "textbook" stance and fighters are encouraged to change it around once it's been mastered as a base. Case in point, many fast fighters have their hands down and have almost exaggerated footwork, while brawlers or bully fighters tend to slowly stalk their opponents. In order to retain their stance boxers take 'the first step in any direction with the foot already leading in that direction.'[48] Different stances allow for bodyweight to be differently positioned and emphasised; this may in turn alter how powerfully and explosively a type of punch can be delivered. For instance, a crouched stance allows for the bodyweight to be positioned further forward over the lead left leg. If a lead left hook is thrown from this position, it will produce a powerful springing action in the lead leg and produce a more explosive punch. This springing action could not be generated effectively, for this punch, if an upright stance was used or if the bodyweight was positioned predominantly over the back leg.[49] Mike Tyson was a keen practitioner of a crouched stance and this style of power punching. The preparatory positioning of the bodyweight over the bent lead leg is also known as an isometric preload. Left-handed or southpaw fighters use a mirror image of the orthodox stance, which can create problems for orthodox fighters unaccustomed to receiving jabs, hooks, or crosses from the opposite side. The southpaw stance, conversely, is vulnerable to a straight right hand. North American fighters tend to favor a more balanced stance, facing the opponent almost squarely, while many European fighters stand with their torso turned more to the side. The positioning of the hands may also vary, as some fighters prefer to have both hands raised in front of the face, risking exposure to body shots. Punches There are four basic punches in boxing: the jab, cross, hook and uppercut. Any punch other than a jab is considered a power punch. If a boxer is right-handed (orthodox), his left hand is the lead hand and his right hand is the rear hand. For a left-handed boxer or southpaw, the hand positions are reversed. For clarity, the following discussion will assume a right-handed boxer.     Jab     Cross - in counter-punch with a looping     Hook     Uppercut Canelo Álvarez is known as an excellent counterpuncher, being able to exploit openings in his opponents' guards while avoiding punches with head and body movement. He is also known as a formidable body puncher.[50][51]     Jab – A quick, straight punch thrown with the lead hand from the guard position. The jab extends from the side of the torso and typically does not pass in front of it. It is accompanied by a small, clockwise rotation of the torso and hips, while the fist rotates 90 degrees, becoming horizontal upon impact. As the punch reaches full extension, the lead shoulder can be brought up to guard the chin. The rear hand remains next to the face to guard the jaw. After making contact with the target, the lead hand is retracted quickly to resume a guard position in front of the face.         The jab is recognized as the most important punch in a boxer's arsenal because it provides a fair amount of its own cover and it leaves the least amount of space for a counter punch from the opponent. It has the longest reach of any punch and does not require commitment or large weight transfers. Due to its relatively weak power, the jab is often used as a tool to gauge distances, probe an opponent's defenses, harass an opponent, and set up heavier, more powerful punches. A half-step may be added, moving the entire body into the punch, for additional power. Some notable boxers who have been able to develop relative power in their jabs and use it to punish or wear down their opponents to some effect include Larry Holmes and Wladimir Klitschko.     Cross – A powerful, straight punch thrown with the rear hand. From the guard position, the rear hand is thrown from the chin, crossing the body and traveling towards the target in a straight line. The rear shoulder is thrust forward and finishes just touching the outside of the chin. At the same time, the lead hand is retracted and tucked against the face to protect the inside of the chin. For additional power, the torso and hips are rotated counter-clockwise as the cross is thrown. A measure of an ideally extended cross is that the shoulder of the striking arm, the knee of the front leg and the ball of the front foot are on the same vertical plane.[52]         Weight is also transferred from the rear foot to the lead foot, resulting in the rear heel turning outwards as it acts as a fulcrum for the transfer of weight. Body rotation and the sudden weight transfer give the cross its power. Like the jab, a half-step forward may be added. After the cross is thrown, the hand is retracted quickly and the guard position resumed. It can be used to counter punch a jab, aiming for the opponent's head (or a counter to a cross aimed at the body) or to set up a hook. The cross is also called a "straight" or "right", especially if it does not cross the opponent's outstretched jab.     Hook – A semi-circular punch thrown with the lead hand to the side of the opponent's head. From the guard position, the elbow is drawn back with a horizontal fist (palm facing down) though in modern times a wide percentage of fighters throw the hook with a vertical fist (palm facing themselves). The rear hand is tucked firmly against the jaw to protect the chin. The torso and hips are rotated clockwise, propelling the fist through a tight, clockwise arc across the front of the body and connecting with the target.         At the same time, the lead foot pivots clockwise, turning the left heel outwards. Upon contact, the hook's circular path ends abruptly and the lead hand is pulled quickly back into the guard position. A hook may also target the lower body and this technique is sometimes called the "rip" to distinguish it from the conventional hook to the head. The hook may also be thrown with the rear hand. Notable left hookers include Joe Frazier, Roy Jones Jr. and Mike Tyson. Ricardo Dominguez (left) throws an uppercut on Rafael Ortiz (right).[53]     Uppercut – A vertical, rising punch thrown with the rear hand. From the guard position, the torso shifts slightly to the right, the rear hand drops below the level of the opponent's chest and the knees are bent slightly. From this position, the rear hand is thrust upwards in a rising arc towards the opponent's chin or torso.         At the same time, the knees push upwards quickly and the torso and hips rotate anti-clockwise and the rear heel turns outward, mimicking the body movement of the cross. The strategic utility of the uppercut depends on its ability to "lift" the opponent's body, setting it off-balance for successive attacks. The right uppercut followed by a left hook is a deadly combination employing the uppercut to lift the opponent's chin into a vulnerable position, then the hook to knock the opponent out. These different punch types can be thrown in rapid succession to form combinations or "combos." The most common is the jab and cross combination, nicknamed the "one-two combo." This is usually an effective combination, because the jab blocks the opponent's view of the cross, making it easier to land cleanly and forcefully. A large, swinging circular punch starting from a cocked-back position with the arm at a longer extension than the hook and all of the fighter's weight behind it is sometimes referred to as a "roundhouse," "haymaker," "overhand," or sucker-punch. Relying on body weight and centripetal force within a wide arc, the roundhouse can be a powerful blow, but it is often a wild and uncontrolled punch that leaves the fighter delivering it off balance and with an open guard. Wide, looping punches have the further disadvantage of taking more time to deliver, giving the opponent ample warning to react and counter. For this reason, the haymaker or roundhouse is not a conventional punch, and is regarded by trainers as a mark of poor technique or desperation. Sometimes it has been used, because of its immense potential power, to finish off an already staggering opponent who seems unable or unlikely to take advantage of the poor position it leaves the puncher in. Another unconventional punch is the rarely used bolo punch, in which the opponent swings an arm out several times in a wide arc, usually as a distraction, before delivering with either that or the other arm. An illegal punch to the back of the head or neck is known as a rabbit punch. Both the hook and uppercut may be thrown with both hands, resulting in differing footwork and positioning from that described above if thrown by the other hand. Generally the analogous opposite is true of the footwork and torso movement. Defense There are several basic maneuvers a boxer can use in order to evade or block punches, depicted and discussed below.     Slipping     Bobbing     Blocking (with the arms)     Cover-Up (with the gloves)     Clinching     Footwork     Pulling away     Slip – Slipping rotates the body slightly so that an incoming punch passes harmlessly next to the head. As the opponent's punch arrives, the boxer sharply rotates the hips and shoulders. This turns the chin sideways and allows the punch to "slip" past. Muhammad Ali was famous for extremely fast and close slips, as was an early Mike Tyson.     Sway or fade – To anticipate a punch and move the upper body or head back so that it misses or has its force appreciably lessened. Also called "rolling with the punch" or " Riding The Punch".     Duck or break – To drop down with the back straight so that a punch aimed at the head glances or misses entirely.     Bob and weave – Bobbing moves the head laterally and beneath an incoming punch. As the opponent's punch arrives, the boxer bends the legs quickly and simultaneously shifts the body either slightly right or left. Once the punch has been evaded, the boxer "weaves" back to an upright position, emerging on either the outside or inside of the opponent's still-extended arm. To move outside the opponent's extended arm is called "bobbing to the outside". To move inside the opponent's extended arm is called "bobbing to the inside". Joe Frazier, Jack Dempsey, Mike Tyson and Rocky Marciano were masters of bobbing and weaving.     Parry/block – Parrying or blocking uses the boxer's shoulder, hands or arms as defensive tools to protect against incoming attacks. A block generally receives a punch while a parry tends to deflect it. A "palm", "catch", or "cuff" is a defence which intentionally takes the incoming punch on the palm portion of the defender's glove.     The cover-up – Covering up is the last opportunity (other than rolling with a punch) to avoid an incoming strike to an unprotected face or body. Generally speaking, the hands are held high to protect the head and chin and the forearms are tucked against the torso to impede body shots. When protecting the body, the boxer rotates the hips and lets incoming punches "roll" off the guard. To protect the head, the boxer presses both fists against the front of the face with the forearms parallel and facing outwards. This type of guard is weak against attacks from below.     The clinch – Clinching is a form of trapping or a rough form of grappling and occurs when the distance between both fighters has closed and straight punches cannot be employed. In this situation, the boxer attempts to hold or "tie up" the opponent's hands so he is unable to throw hooks or uppercuts. To perform a clinch, the boxer loops both hands around the outside of the opponent's shoulders, scooping back under the forearms to grasp the opponent's arms tightly against his own body. In this position, the opponent's arms are pinned and cannot be used to attack. Clinching is a temporary match state and is quickly dissipated by the referee. Clinching is technically against the rules, and in amateur fights points are deducted fairly quickly for it. It is unlikely, however, to see points deducted for a clinch in professional boxing. Unorthodox strategies     The "rope-a-dope" strategy: Used by Muhammad Ali in his 1974 "the Rumble in the Jungle" bout against George Foreman, the rope-a-dope method involves lying back against the ropes, covering up defensively as much as possible and allowing the opponent to attempt numerous punches. The back-leaning posture, which does not cause the defending boxer to become as unbalanced as he would during normal backward movement, also maximizes the distance of the defender's head from his opponent, increasing the probability that punches will miss their intended target. Weathering the blows that do land, the defender lures the opponent into expending energy while conserving his/her own. If successful, the attacking opponent will eventually tire, creating defensive flaws which the boxer can exploit. In modern boxing, the rope-a-dope is generally discouraged since most opponents are not fooled by it and few boxers possess the physical toughness to withstand a prolonged, unanswered assault. Recently, however, eight-division world champion Manny Pacquiao skillfully used the strategy to gauge the power of welterweight titlist Miguel Cotto in November 2009. Pacquiao followed up the rope-a-dope gambit with a withering knockdown. Tyson Fury also attempted this against Francesco Pianeto but didn't pull it off as smoothly.     Bolo punch: Occasionally seen in Olympic boxing, the bolo is an arm punch which owes its power to the shortening of a circular arc rather than to transference of body weight; it tends to have more of an effect due to the surprise of the odd angle it lands at rather than the actual power of the punch. This is more of a gimmick than a technical maneuver; this punch is not taught, being on the same plane in boxing technicality as is the Ali shuffle. Nevertheless, a few professional boxers have used the bolo-punch to great effect, including former welterweight champions Sugar Ray Leonard, and Kid Gavilán as well as current British fighter Chris Eubank Jr. Middleweight champion Ceferino Garcia is regarded as the inventor of the bolo punch.     Bolo punch     Overhand (overcut)     Overhand: The overhand is a punch, thrown from the rear hand, not found in every boxer's arsenal. Unlike the cross, which has a trajectory parallel to the ground, the overhand has a looping circular arc as it is thrown over the shoulder with the palm facing away from the boxer. It is especially popular with smaller stature boxers trying to reach taller opponents. Boxers who have used this punch consistently and effectively include former heavyweight champions Rocky Marciano and Tim Witherspoon, as well as MMA champions Chuck Liddell and Fedor Emelianenko. The overhand has become a popular weapon in other tournaments that involve fist striking. Deontay Wilder heavily favours and is otherwise known for knocking many of his opponents out with one of his right overhands.     Check hook: A check hook is employed to prevent aggressive boxers from lunging in. There are two parts to the check hook. The first part consists of a regular hook. The second, trickier part involves the footwork. As the opponent lunges in, the boxer should throw the hook and pivot on his left foot and swing his right foot 180 degrees around. If executed correctly, the aggressive boxer will lunge in and sail harmlessly past his opponent like a bull missing a matador. This is rarely seen in professional boxing as it requires a great disparity in skill level to execute. Technically speaking it has been said that there is no such thing as a check hook and that it is simply a hook applied to an opponent that has lurched forward and past his opponent who simply hooks him on the way past. Others have argued that the check hook exists but is an illegal punch due to it being a pivot punch which is illegal in the sport. Floyd Mayweather, Jr. employed the use of a check hook against Ricky Hatton, which sent Hatton flying head first into the corner post and being knocked down. Ring corner Boxer Tina Rupprecht receiving instructions from her trainer while being treated by her cutman in the ring corner between rounds. In boxing, each fighter is given a corner of the ring where he rests in between rounds for 1 minute and where his trainers stand. Typically, three men stand in the corner besides the boxer himself; these are the trainer, the assistant trainer and the cutman. The trainer and assistant typically give advice to the boxer on what he is doing wrong as well as encouraging him if he is losing. The cutman is a cutaneous doctor responsible for keeping the boxer's face and eyes free of cuts, blood and excessive swelling. This is of particular importance because many fights are stopped because of cuts or swelling that threaten the boxer's eyes. In addition, the corner is responsible for stopping the fight if they feel their fighter is in grave danger of permanent injury. The corner will occasionally throw in a white towel to signify a boxer's surrender (the idiomatic phrase "to throw in the towel", meaning to give up, derives from this practice).[54] This can be seen in the fight between Diego Corrales and Floyd Mayweather. In that fight, Corrales' corner surrendered despite Corrales' steadfast refusal." (wikipedia.org) "The human skeleton is the internal framework of the human body. It is composed of around 270 bones at birth – this total decreases to around 206 bones by adulthood after some bones get fused together.[1] The bone mass in the skeleton reaches maximum density around age 21.[citation needed] The human skeleton can be divided into the axial skeleton and the appendicular skeleton. The axial skeleton is formed by the vertebral column, the rib cage, the skull and other associated bones. The appendicular skeleton, which is attached to the axial skeleton, is formed by the shoulder girdle, the pelvic girdle and the bones of the upper and lower limbs. The human skeleton performs six major functions: support, movement, protection, production of blood cells, storage of minerals, and endocrine regulation. The human skeleton is not as sexually dimorphic as that of many other primate species, but subtle differences between sexes in the morphology of the skull, dentition, long bones, and pelvis exist. In general, female skeletal elements tend to be smaller and less robust than corresponding male elements within a given population.[citation needed] The human female pelvis is also different from that of males in order to facilitate childbirth.[2] Unlike most primates, human males do not have penile bones.... Divisions Axial Main article: Axial skeleton The axial skeleton (80 bones) is formed by the vertebral column (32–34 bones; the number of the vertebrae differs from human to human as the lower 2 parts, sacral and coccygeal bone may vary in length), a part of the rib cage (12 pairs of ribs and the sternum), and the skull (22 bones and 7 associated bones). The upright posture of humans is maintained by the axial skeleton, which transmits the weight from the head, the trunk, and the upper extremities down to the lower extremities at the hip joints. The bones of the spine are supported by many ligaments. The erector spinae muscles are also supporting and are useful for balance. Appendicular Main article: Appendicular skeleton The appendicular skeleton (126 bones) is formed by the pectoral girdles, the upper limbs, the pelvic girdle or pelvis, and the lower limbs. Their functions are to make locomotion possible and to protect the major organs of digestion, excretion and reproduction. Functions The skeleton serves six major functions: support, movement, protection, production of blood cells, storage of minerals and endocrine regulation. Support The skeleton provides the framework which supports the body and maintains its shape. The pelvis, associated ligaments and muscles provide a floor for the pelvic structures. Without the rib cages, costal cartilages, and intercostal muscles, the lungs would collapse. Movement The joints between bones allow movement, some allowing a wider range of movement than others, e.g. the ball and socket joint allows a greater range of movement than the pivot joint at the neck. Movement is powered by skeletal muscles, which are attached to the skeleton at various sites on bones. Muscles, bones, and joints provide the principal mechanics for movement, all coordinated by the nervous system. It is believed that the reduction of human bone density in prehistoric times reduced the agility and dexterity of human movement. Shifting from hunting to agriculture has caused human bone density to reduce significantly.[4][5][6] Protection The skeleton helps to protect our many vital internal organs from being damaged.     The skull protects the brain     The vertebrae protect the spinal cord.     The rib cage, spine, and sternum protect the lungs, heart and major blood vessels. Blood cell production The skeleton is the site of haematopoiesis, the development of blood cells that takes place in the bone marrow. In children, haematopoiesis occurs primarily in the marrow of the long bones such as the femur and tibia. In adults, it occurs mainly in the pelvis, cranium, vertebrae, and sternum.[7] Storage The bone matrix can store calcium and is involved in calcium metabolism, and bone marrow can store iron in ferritin and is involved in iron metabolism. However, bones are not entirely made of calcium, but a mixture of chondroitin sulfate and hydroxyapatite, the latter making up 70% of a bone. Hydroxyapatite is in turn composed of 39.8% of calcium, 41.4% of oxygen, 18.5% of phosphorus, and 0.2% of hydrogen by mass. Chondroitin sulfate is a sugar made up primarily of oxygen and carbon. Endocrine regulation Bone cells release a hormone called osteocalcin, which contributes to the regulation of blood sugar (glucose) and fat deposition. Osteocalcin increases both the insulin secretion and sensitivity, in addition to boosting the number of insulin-producing cells and reducing stores of fat.[8] Sex differences During construction of the York to Scarborough Railway Bridge in 1901, workmen discovered a large stone coffin, close to the River Ouse. Inside was a skeleton, accompanied by an array of unusual and expensive objects. This chance find represents one of the most significant discoveries ever made from Roman York. Study of the skeleton has revealed that it belonged to a woman. Anatomical differences between human males and females are highly pronounced in some soft tissue areas, but tend to be limited in the skeleton. The human skeleton is not as sexually dimorphic as that of many other primate species, but subtle differences between sexes in the morphology of the skull, dentition, long bones, and pelvis are exhibited across human populations. In general, female skeletal elements tend to be smaller and less robust than corresponding male elements within a given population.[citation needed] It is not known whether or to what extent those differences are genetic or environmental. Skull A variety of gross morphological traits of the human skull demonstrate sexual dimorphism, such as the median nuchal line, mastoid processes, supraorbital margin, supraorbital ridge, and the chin.[9] Dentition Human inter-sex dental dimorphism centers on the canine teeth, but it is not nearly as pronounced as in the other great apes. Long bones Long bones are generally larger in males than in females within a given population. Muscle attachment sites on long bones are often more robust in males than in females, reflecting a difference in overall muscle mass and development between sexes. Sexual dimorphism in the long bones is commonly characterized by morphometric or gross morphological analyses. Pelvis The human pelvis exhibits greater sexual dimorphism than other bones, specifically in the size and shape of the pelvic cavity, ilia, greater sciatic notches, and the sub-pubic angle. The Phenice method is commonly used to determine the sex of an unidentified human skeleton by anthropologists with 96% to 100% accuracy in some populations.[10] Women's pelvises are wider in the pelvic inlet and are wider throughout the pelvis to allow for child birth. The sacrum in the women's pelvis is curved inwards to allow the child to have a "funnel" to assist in the child's pathway from the uterus to the birth canal. Clinical significance See also: Bone disease There are many classified skeletal disorders. One of the most common is osteoporosis. Also common is scoliosis, a side-to-side curve in the back or spine, often creating a pronounced "C" or "S" shape when viewed on an x-ray of the spine. This condition is most apparent during adolescence, and is most common with females. Arthritis Main article: Arthritis Arthritis is a disorder of the joints. It involves inflammation of one or more joints. When affected by arthritis, the joint or joints affected may be painful to move, may move in unusual directions or may be immobile completely. The symptoms of arthritis will vary differently between types of arthritis. The most common form of arthritis, osteoarthritis, can affect both the larger and smaller joints of the human skeleton. The cartilage in the affected joints will degrade, soften and wear away. This decreases the mobility of the joints and decreases the space between bones where cartilage should be. Osteoporosis Main article: Osteoporosis Osteoporosis is a disease of bone where there is reduced bone mineral density, increasing the likelihood of fractures.[11] Osteoporosis is defined by the World Health Organization in women as a bone mineral density 2.5 standard deviations below peak bone mass, relative to the age and sex-matched average, as measured by Dual energy X-ray absorptiometry, with the term "established osteoporosis" including the presence of a fragility fracture.[12] Osteoporosis is most common in women after menopause, when it is called "postmenopausal osteoporosis", but may develop in men and premenopausal women in the presence of particular hormonal disorders and other chronic diseases or as a result of smoking and medications, specifically glucocorticoids.[11] Osteoporosis usually has no symptoms until a fracture occurs.[11] For this reason, DEXA scans are often done in people with one or more risk factors, who have developed osteoporosis and be at risk of fracture.[11] Osteoporosis treatment includes advice to stop smoking, decrease alcohol consumption, exercise regularly, and have a healthy diet. Calcium supplements may also be advised, as may Vitamin D. When medication is used, it may include bisphosphonates, Strontium ranelate, and osteoporosis may be one factor considered when commencing Hormone replacement therapy.[11] History [icon]    This section needs expansion. You can help by adding to it. (November 2014) See also: Paleoanthropology India Main article: Ayurveda Suśruta-saṃhitā, composed between 6th century BCE and 5th century CE speaks of 360 bones. Books on Salya-Shastra (surgical science) know of only 300. The text then lists the total of 300 as follows: 120 in the extremities (e.g. hands, legs), 117 in the pelvic area, sides, back, abdomen and breast, and 63 in the neck and upwards.[13] The text then explains how these subtotals were empirically verified.[14] The discussion shows that the Indian tradition nurtured diversity of thought, with Sushruta school reaching its own conclusions and differing from the Atreya-Caraka tradition.[14] The differences in the count of bones in the two schools is partly because Charaka Samhita includes thirty two teeth sockets in its count, and their difference of opinions on how and when to count a cartilage as bone (both count cartilages as bones, unlike current medical practice).[15] Hellenistic world The study of bones in ancient Greece started under Ptolemaic kings due to their link to Egypt. Herophilos, through his work by studying dissected human corpses in Alexandria, is credited to be the pioneer of the field. His works are lost but are often cited by notable persons in the field such as Galen and Rufus of Ephesus. Galen himself did little dissection though and relied on the work of others like Marinus of Alexandria,[16] as well as his own observations of gladiator cadavers and animals.[17] According to Katherine Park, in medieval Europe dissection continued to be practiced, contrary to the popular understanding that such practices were taboo and thus completely banned.[18] The practice of holy autopsy, such as in the case of Clare of Montefalco further supports the claim.[19] Alexandria continued as a center of anatomy under Islamic rule, with Ibn Zuhr a notable figure. Chinese understandings are divergent, as the closest corresponding concept in the medicinal system seems to be the meridians, although given that Hua Tuo regularly performed surgery, there may be some distance between medical theory and actual understanding. Renaissance Leonardo Da Vinci made studies of the skeleton, albeit unpublished in his time.[20] Many artists, Antonio Pollaiuolo being the first, performed dissections for better understanding of the body, although they concentrated mostly on the muscles.[21] Vesalius, regarded as the founder of modern anatomy, authored the book De humani corporis fabrica, which contained many illustrations of the skeleton and other body parts, correcting some theories dating from Galen, such as the lower jaw being a single bone instead of two.[22] Various other figures like Alessandro Achillini also contributed to the further understanding of the skeleton." (wikipedia.org) "A skeleton is a type of physically manifested undead often found in fantasy, gothic and horror fiction, and mythical art. Most are human skeletons, but they can also be from any creature or race found on Earth or in the fantasy world.... Myth and folklore Animated human skeletons have been used as a personification of death in Western culture since the Middle Ages, a personification perhaps influenced by the valley of the dry bones in the Book of Ezekiel.[1] The Grim Reaper is often depicted as a hooded skeleton holding a scythe (and occasionally an hourglass), which has been attributed to Hans Holbein the Younger (1538).[2] Death as one of the biblical horsemen of the Apocalypse has been depicted as a skeleton riding a horse. The Triumph of Death is a 1562 painting by Pieter Bruegel the Elder depicting an army of skeletons raiding a town and slaughtering its occupants.[3] "The Boy Who Wanted the Willies" is a Brothers Grimm fairy tale in which a boy named Hans joins a circle of dancing skeletons.[citation needed] In Japanese folklore, Mekurabe are rolling skulls with eyeballs who menace Taira no Kiyomori.[4] José Guadalupe Posada's 1913 La Calavera Catrina zinc etching Mexico Figurines and images of skeletons doing routine things are common in Mexico's Day of the Dead celebration, where skulls symbolize life and their familiar circumstances invite levity. Highly-decorated sugar-skull candy has become one of the most recognizable elements of the celebrations.[5][6] They are known in Mexico as calacas, a Mexican Spanish term simply meaning "skeleton". The moderns association between skeleton iconography and the Day of the Dead was inspired by La Calavera Catrina, a zinc etching created by Mexican cartoonist José Guadalupe Posada in the 1910s and published posthumously in 1930.[7] Initially a satire of Mexican women who were ashamed of their indigenous origins and dressed imitating the French style, wearing heavy makeup to make their skin look whiter, it later became a more general symbol of vanity.[8] During the 20th Century, the Catrina entrenched itself in the Mexican consciousness and became a national icon, often depicted in folk art. In the Disney Pixar film Coco, the calacas appear to be ghosts. Modern fiction [icon]    This section needs expansion. You can help by adding to it. (March 2014) Literature     The animated skeleton features in some Gothic fiction. One early example is in the short story "Thurnley Abbey" (1908) by Perceval Landon, originally published in his collection Raw Edges.[9] It is reprinted in many modern anthologies, such as The 2nd Fontana Book of Great Ghost Stories and The Penguin Book of Horror Stories.     An anthropomorphic depiction of Death which looks like a skeleton in a black robe appears in almost all volumes of Terry Pratchett's fantasy series Discworld, including five novels where he is the lead character.[10] Film and TV     Undead skeletons have been portrayed in fantasy films such as The 7th Voyage of Sinbad (1958), The Black Cauldron (1985), Army of Darkness (1992), The Nightmare Before Christmas (1993), and Corpse Bride (2005).     An extended battle scene against an army of skeletal warriors was produced by animator Ray Harryhausen for Jason and the Argonauts (1963) and is remembered as one of the most sophisticated and influential visual effects sequences of its day.[11] A CG art skeleton, as commonly found in modern fantasy-theme games. Games     Animated skeletons have been used and portrayed extensively in fantasy role-playing games. In a tradition that goes back to the pen-and-paper game Dungeons & Dragons, the basic animated skeleton is commonly employed as a low-level undead enemy, typically easy for a player to defeat in combat. Thus, in games which make use of them, such enemies often appear relatively early in the gameplay and are considered a suitable opponent for novice players.[12] In these contexts, they are commonly armed with medieval weapons and sometimes wear armor. Some games may also introduce higher-level variants with heightened resilience or combat skills as well as the ability to cast spells or communicate.[13]     In the PlayStation action-adventure series MediEvil, the protagonist is an animated skeleton knight named Sir Daniel Fortesque.[14]     In the 1999 cult classic Planescape: Torment, Morte is a character who joins the protagonist on his quest and is essentially a sentient, levitating human skull with intact eyeballs who cracks wise and fights by biting.[15]     In the 2009 Minecraft video game, skeletons appear as a bow-wielding monster that shoots players with their bow and burn under the sunlight. Sometimes the skeletons spawn with enchanted bows or a random piece of armor, or random full armor, or without bow, and they can pick melee weapons. In Halloween, they can spawn wearing carved pumpkin or Jack O' Lantern on their heads.     In the video game Fable III, there exist a race of antagonal characters called "hollow men" which are featured throughout the game.     A duo of animated skeleton brothers plays an important role in the role-playing game Undertale. Named Sans and Papyrus, the brothers' dialogue text is printed in Comic Sans and Papyrus fonts, respectively.[16]     Following a poll taken during their Kickstarter campaign, Larian Studios added a playable skeleton race in their 2017 RPG Divinity: Original Sin II, as well as an ancient skeletal character named Fane.[17]     Following the first game, the skeletons were re-added in Minecraft Dungeons, a 2020 dungeon crawler game released by Mojang Studios as the guards of The Nameless One, the king of the undead. In this form, they are equipped with glaives, shields, and iron helmets and chestplates, and are referred to as Skeleton Vanguards. They also spawn as their original bow-wielding form, sometimes wearing iron helmet." (wikipedia.org) "Death is frequently imagined as a personified force. In some mythologies, a character known as the Grim Reaper (often depicted as a robed skeleton) causes the victim's death by coming to collect that person's soul. Other beliefs hold that the Spectre of Death is only a psychopomp, serving to sever the last ties between the soul and the body, and to guide the deceased to the afterlife, without having any control over when or how the victim dies. Death is most often[clarification needed] personified in male form, although in certain cultures Death is perceived as female (for instance, Marzanna in Slavic mythology or Santa Muerte in Mexico).... By region Death from the Cary-Yale Tarot Deck (15th century) Americas La Calavera Catrina Latin America As is the case in many Romance languages (including French, Portuguese, Italian, and Romanian), the Spanish word for death, muerte, is a feminine noun. As such, it is common in Spanish-speaking cultures to personify death as a female figure. In Aztec mythology, Mictecacihuatl is the "Queen of Mictlan" (the Aztec underworld), ruling over the afterlife with her husband Mictlantecuhtli. Other epithets for her include "Lady of the Dead," as her role includes keeping watch over the bones of the dead. Mictecacihuatl was represented with a fleshless body and with jaw agape to swallow the stars during the day. She presided over the ancient festivals of the dead, which evolved from Aztec traditions into the modern Day of the Dead after synthesis with Spanish cultural traditions.[citation needed] Our Lady of the Holy Death (Santa Muerte) is a female deity or folk saint of Mexican folk religion, whose popularity has been growing in Mexico and the United States in recent years. Since the pre-Columbian era, Mexican culture has maintained a certain reverence towards death, as seen in the widespread commemoration of the Day of the Dead. La Calavera Catrina, a character symbolizing death, is also an icon of the Mexican Day of the Dead. San La Muerte (Saint Death) is a skeletal folk saint venerated in Paraguay, northeast Argentina, and southern Brazil. As the result of internal migration in Argentina since the 1960s, the veneration of San La Muerte has been extended to Greater Buenos Aires and the national prison system as well. Saint Death is depicted as a male skeleton figure usually holding a scythe. Although the Catholic Church in Mexico has attacked the devotion of Saint Death as a tradition that mixes paganism with Christianity and is contrary to the Christian belief of Christ defeating death, many devotees consider the veneration of San La Muerte as being part of their Catholic faith. The rituals connected and powers ascribed to San La Muerte are very similar to those of Santa Muerte; the resemblance between their names, however, is coincidental. In Guatemala, San Pascualito is a skeletal folk saint venerated as "King of the Graveyard." He is depicted as a skeletal figure with a scythe, sometimes wearing a cape and crown. He is associated with death and the curing of diseases. In the Brazilian religion Umbanda, the orixá Omolu personifies sickness and death as well as healing. The image of the death is also associated with Exu, lord of the crossroads, who rules cemeteries and the hour of midnight. In Haitian Vodou, the Guédé are a family of spirits that embody death and fertility. The most well-known of these spirits is Baron Samedi. Asia East Asia See also: Life replacement narratives Yama was introduced to Chinese mythology through Buddhism. In Chinese, he is known as King Yan (t 閻王, s 阎王, p Yánwáng) or Yanluo (t 閻羅王, s 阎罗王, p Yánluówáng), ruling the ten gods of the underworld Diyu. He is normally depicted wearing a Chinese judge's cap and traditional Chinese robes and appears on most forms of hell money offered in ancestor worship. From China, Yama spread to Japan as the Great King Enma (閻魔大王, Enma-Dai-Ō), ruler of Jigoku (地獄); Korea as the Great King Yeomra (염라대왕), ruler of Jiok (지옥); and Vietnam as Diêm La Vương, ruler of Địa Ngục or Âm Phủ. Separately, In Korean mythology, death's principal figure is the "Netherworld Emissary" Jeoseungsaja (저승사자, shortened to Saja (사자)). He is depicted as a stern and ruthless bureaucrat in Yeomna's service. A psychopomp, he escorts all—good or evil—from the land of the living to the netherworld when the time comes.[1] One of the representative names is Ganglim (강림), the Saja who guides the soul to the entrance of the underworld. According to legend, he always carries Jeokpaeji (적패지), the list with the names of the dead written on a red cloth. When he calls the name on Jeokpaeji three times, the soul leaves the body and follows him inevitably. The Kojiki relates that the Japanese goddess Izanami was burnt to death giving birth to the fire god Hinokagutsuchi. She then entered a realm of perpetual night called Yomi-no-Kuni. Her husband Izanagi pursued her there but discovered his wife was no longer as beautiful as before. After an argument, she promised she would take a thousand lives every day, becoming a goddess of death. There are also death gods called shinigami (死神), which are closer to the Western tradition of the Grim Reaper; while common in modern Japanese arts and fiction, they were essentially absent in traditional mythology. India Yama, the Hindu lord of death, presiding over his court in hell The Sanskrit word for death is mrityu (cognate with Latin mors and Lithuanian mirtis), which is often personified in Dharmic religions. In Hindu scriptures, the lord of death is called King Yama (यम राज, Yama Rājā). He is also known as the King of Karmic Justice (Dharmaraja) as one's karma at death was considered to lead to a just rebirth. Yama rides a black buffalo and carries a rope lasso to lead the soul back to his home, called Naraka, pathalloka, or Yamaloka. There are many forms of reapers, although some say there is only one who disguises himself as a small child. His agents, the Yamadutas, carry souls back to Yamalok. There, all the accounts of a person's good and bad deeds are stored and maintained by Chitragupta. The balance of these deeds allows Yama to decide where the soul should reside in its next life, following the theory of reincarnation. Yama is also mentioned in the Mahabharata as a great philosopher and devotee of the Supreme Brahman. Buddhist scriptures also mention the figure Mara much in the same way. Western Asia Main article: Mot (god) The Canaanites of the 12th- and 13th-century BC Levant personified death as the god Mot (lit. "Death"). He was considered a son of the king of the gods, El. His contest with the storm god Baʿal forms part of the myth cycle from the Ugaritic texts. The Phoenicians also worshipped death under the name Mot and a version of Mot later became Maweth, the devil or angel of death in Judaism.[2][3] Zoroastrianism ASTWIHĀD (Av. Astō.vīδōtu, lit. "he who dissolves the bones, bone-breaker, divider of the body"), the demon of death in the Avesta (Vd. 4.49, 5.8-9) and later Zoroastrian texts. He destroys life in cooperation with Vāyu, and none can escape him (Aogəmadaēčā 57.73). In Pahlavi literature he is identified with the Evil Wāy (q.v.): "Astwihād is the Evil Wāy who carries the breath-soul away. As it is said: When he touches a man with his hand, it is sleep; when he casts his shadow on him, it is fever; and when he looks upon him with his eyes, he deprives him of the breath-soul" (Bundahišn, p. 186.12). Astwihād was sent by Ahriman to cast his fatal noose on Gayōmard (cf. the noose of Vedic Yama), and he is one of the evil assessors of the soul at its judgment. His meaning is summed up in Dādestān ī Dēnīg 36.38: "Astwihād is explained as the disintegration of material beings" (astwihād wizārīhēd astōmandān wišōbagīh).[1] Europe Baltic "Death" (Nāve; 1897) by Janis Rozentāls Latvians named Death Veļu māte, but for Lithuanians it was Giltinė, deriving from the word gelti ("to sting"). Giltinė was viewed as an old, ugly woman with a long blue nose and a deadly poisonous tongue. The legend tells that Giltinė was young, pretty, and communicative until she was trapped in a coffin for seven years. Her sister was the goddess of life and destiny, Laima, symbolizing the relationship between beginning and end. Like the Scandinavians, Lithuanians and Latvians later began using Grim Reaper imagery for death. Celtic Bunworth Banshee, "Fairy Legends and Traditions of the South of Ireland", by Thomas Crofton Croker, 1825 In Breton folklore, a spectral figure called the Ankou (yr Angau in Welsh) portends death. Usually, the Ankou is the spirit of the last person that died within the community and appears as a tall, haggard figure with a wide hat and long white hair or a skeleton with a revolving head. The Ankou drives a deathly wagon or cart with a creaking axle. The cart or wagon is piled high with corpses and a stop at a cabin means instant death for those inside.[4] Irish mythology features a similar creature known as a dullahan, whose head would be tucked under his or her arm (dullahans were not one, but an entire species). The head was said to have large eyes and a smile that could reach the head's ears. The dullahan would ride a black horse or a carriage pulled by black horses, and stop at the house of someone about to die, and call their name, and immediately the person would die. The dullahan did not like being watched, and it was believed that if a dullahan knew someone was watching them, they would lash that person's eyes with their whip, which was made from a spine; or they would toss a basin of blood on the person, which was a sign that the person was next to die. Gaelic lore also involves a female spirit known as Banshee (Modern Irish Gaelic: bean sí pron. banshee, literally fairy woman), who heralds the death of a person by shrieking or keening. The banshee is often described as wearing red or green, usually with long, disheveled hair. She can appear in a variety of forms, typically that of an ugly, frightful hag, but in some stories she chooses to appear young and beautiful. Some tales recount that the creature was actually a ghost, often of a specific murdered woman or a mother who died in childbirth. When several banshees appeared at once, it was said to indicate the death of someone great or holy. In Ireland and parts of Scotland, a traditional part of mourning is the keening woman (bean chaointe), who wails a lament – in Irish: Caoineadh, caoin meaning "to weep, to wail." In Scottish folklore there was a belief that a black, dark green or white dog known as a Cù Sìth took dying souls to the afterlife. Comparable figures exist in Irish and Welsh stories. In Welsh Folklore, Gwyn ap Nudd is the escort of the grave, the personification of Death and Winter who leads the Wild Hunt to collect wayward souls and escort them to the Otherworld, sometimes it is Melwas, Arawn or Afallach in a similar position. Hellenic Main article: Thanatos In Ancient Greek religion and Greek mythology, Death (Thanatos) is one of the twin sons of Nyx (night). Like her, he is seldom portrayed directly. He sometimes appears in art as a winged and bearded man, and occasionally as a winged and beardless youth. When he appears together with his twin brother, Hypnos, the god of sleep, Thanatos generally represents a gentle death. Thanatos, led by Hermes psychopompos, takes the shade of the deceased to the near shore of the river Styx, whence the ferryman Charon, on payment of a small fee, conveys the shade to Hades, the realm of the dead. Homer's Iliad 16.681, and the Euphronios Krater's depiction of the same episode, have Apollo instruct the removal of the heroic, semi-divine Sarpedon's body from the battlefield by Hypnos and Thanatos, and conveyed thence to his homeland for proper funeral rites.[citation needed] Among the other children of Nyx are Thanatos' sisters, the Keres, blood-drinking, vengeant spirits of violent or untimely death, portrayed as fanged and taloned, with bloody garments. Scandinavia Hel (1889) by Johannes Gehrts, pictured here with her hound Garmr. In Scandinavia, Norse mythology personified death in the shape of Hel, the goddess of death and ruler over the realm of the same name, where she received a portion of the dead.[5] In the times of the Black Plague, Death would often be depicted as an old woman known by the name of Pesta, meaning "plague hag," wearing a black hood. She would go into a town carrying either a rake or a broom. If she brought the rake, some people would survive the plague; if she brought the broom, however, everyone would die.[6] Scandinavians later adopted the Grim Reaper with a scythe and black robe. Today, Ingmar Bergman's film The Seventh Seal features one of the world's most famous representations of this personification of Death.[citation needed] Slavic Prague Astronomical Clock In Poland, Death – Śmierć or kostuch – has an appearance similar to the Grim Reaper, although its robe was traditionally white instead of black. Because the word śmierć is feminine in gender, death is frequently portrayed as a skeletal old woman, as depicted in 15th-century dialogue "Rozmowa Mistrza Polikarpa ze Śmiercią" (Latin: "Dialogus inter Mortem et Magistrum Polikarpum"). In Serbia and other South Slavic countries, the Grim Reaper is well known as Smrt ("Death") or Kosač ("Billhook"). Slavic people found this very similar to the Devil and other dark powers. One popular saying about death is: Smrt ne bira ni vreme, ni mesto, ni godinu ("Death does not choose a time, place or year" – which means death is destiny.)[original research?] Morana is a Slavic goddess of winter time, death and rebirth. A figurine of the same name is traditionally created at the end of winter/beginning of spring and symbolically taken away from villages to be set in fire and/or thwown into a river, that takes her away from the world of the living. In the Czech Republic, the medieval Prague Astronomical Clock carries a depiction of Death striking the hour. A version first appeared in 1490.[7][8] The Low Countries In the Netherlands, and to a lesser extent in Belgium, the personification of Death is known as Magere Hein ("Meager Hein") or Pietje de Dood ("Peter the Death").[9] Historically, he was sometimes simply referred to as Hein or variations thereof such as Heintje, Heintjeman and Oom Hendrik ("Uncle Hendrik"). Related archaic terms are Beenderman ("Bone-man"), Scherminkel (very meager person, "skeleton") and Maaijeman ("mow-man", a reference to his scythe).[10] The concept of Magere Hein predates Christianity, but was Christianized and likely gained its modern name and features (scythe, skeleton, black robe etc.) during the Middle Ages. The designation "Meager" comes from its portrayal as a skeleton, which was largely influenced by the Christian "Dance of Death" (Dutch: dodendans) theme that was prominent in Europe during the late Middle Ages. "Hein" was a Middle Dutch name originating as a short form of Heinric (see Henry (given name)). Its use was possibly related to the comparable German concept of "Freund Hein."[citation needed] Notably, many of the names given to Death can also refer to the Devil; it is likely that fear of death led to Hein's character being merged with that of Satan.[10][11] In Belgium, this personification of Death is now commonly called Pietje de Dood "Little Pete, the Death."[12] Like the other Dutch names, it can also refer to the Devil.[13] Western Europe In Western Europe, Death has commonly been personified as an animated skeleton since the Middle Ages.[14] This character, which is often depicted wielding a scythe, is said to collect the souls of the dying or recently dead. In English and German culture, Death is typically portrayed as male, but in French, Spanish, and Italian culture, it is not uncommon for Death to be female.[15] In the late 1800s, the character of Death became known as the Grim Reaper in English literature. The earliest appearance of the name "Grim Reaper" in English is in the 1847 book The Circle of Human Life:[16][17][18]     All know full well that life cannot last above seventy, or at the most eighty years. If we reach that term without meeting the grim reaper with his scythe, there or there about, meet him we surely shall. In Abrahamic religions See also: Destroying angel (Bible) The "Angel of the Lord" smites 185,000 men in the Assyrian camp (II Kings 19:35). When the Angel of Death passes through to smite the Egyptian first-born, God prevents "the destroyer" (shâchath) from entering houses with blood on the lintel and side posts (Exodus 12:23). The "destroying angel" (mal'ak ha-mashḥit) rages among the people in Jerusalem (II Sam. 24:16). In I Chronicles 21:15 the "angel of the Lord" is seen by King David standing "between the earth and the heaven, having a drawn sword in his hand stretched out over Jerusalem." The biblical Book of Job (33:22) uses the general term "destroyers" (memitim), which tradition has identified with "destroying angels" (mal'ake Khabbalah), and Prov. 16:14 uses the term the "angels of death" (mal'ake ha-mavet). The angel Azra'il is sometimes referred as the Angel of Death as well.[19]: 64–65  Jewish tradition also refers to Death as the Angel of Dark and Light, a name which stems from Talmudic lore. There is also a reference to "Abaddon" (The Destroyer), an angel who is known as the "Angel of the Abyss". In Talmudic lore, he is characterized as archangel Michael.[20] In Judaism La mort du fossoyeur (Death of the gravedigger) by Carlos Schwabe In Hebrew scriptures, Death ("Maweth/Mavet(h)") is sometimes personified as a devil or angel of death (e.g., Habakkuk 2:5; Job 18:13).[2] In both the Book of Hosea and the Book of Jeremiah, Maweth/Mot is mentioned as a deity to whom Yahweh can turn over Judah as punishment for worshiping other gods.[21] The memitim are a type of angel from biblical lore associated with the mediation over the lives of the dying. The name is derived from the Hebrew word mĕmītǐm (מְמִיתִים – "executioners", "slayers", "destroyers") and refers to angels that brought about the destruction of those whom the guardian angels no longer protected.[22] While there may be some debate among religious scholars regarding the exact nature of the memitim, it is generally accepted that, as described in the Book of Job 33:22, they are killers of some sort.[23] Form and functions According to the Midrash, the Angel of Death was created by God on the first day.[24] His dwelling is in heaven, whence he reaches earth in eight flights, whereas Pestilence reaches it in one.[25] He has twelve wings.[26] "Over all people have I surrendered thee the power," said God to the Angel of Death, "only not over this one [i.e. Moses] which has received freedom from death through the Law."[27] It is said of the Angel of Death that he is full of eyes. In the hour of death, he stands at the head of the departing one with a drawn sword, to which clings a drop of gall. As soon as the dying man sees Death, he is seized with a convulsion and opens his mouth, whereupon Death throws the drop into it. This drop causes his death; he turns putrid, and his face becomes yellow.[28] The expression "the taste of death" originated in the idea that death was caused by a drop of gall.[29] The soul escapes through the mouth, or, as is stated in another place, through the throat; therefore, the Angel of Death stands at the head of the patient (Adolf Jellinek, l.c. ii. 94, Midr. Teh. to Ps. xi.). When the soul forsakes the body, its voice goes from one end of the world to the other, but is not heard (Gen. R. vi. 7; Ex. R. v. 9; Pirḳe R. El. xxxiv.). The drawn sword of the Angel of Death, mentioned by the Chronicler (I. Chron. 21:15; comp. Job 15:22; Enoch 62:11), indicates that the Angel of Death was figured as a warrior who kills off the children of men. "Man, on the day of his death, falls down before the Angel of Death like a beast before the slaughterer" (Grünhut, "Liḳḳuṭim", v. 102a). R. Samuel's father (c. 200) said: "The Angel of Death said to me, 'Only for the sake of the honor of mankind do I not tear off their necks as is done to slaughtered beasts'" ('Ab. Zarah 20b). In later representations, the knife sometimes replaces the sword, and reference is also made to the cord of the Angel of Death, which indicates death by throttling. Moses says to God: "I fear the cord of the Angel of Death" (Grünhut, l.c. v. 103a et seq.). Of the four Jewish methods of execution, three are named in connection with the Angel of Death: Burning (by pouring hot lead down the victim's throat), slaughtering (by beheading), and throttling. The Angel of Death administers the particular punishment that God has ordained for the commission of sin. A peculiar mantle ("idra"—according to Levy, "Neuhebr. Wörterb." i. 32, a sword) belongs to the equipment of the Angel of Death (Eccl. R. iv. 7). The Angel of Death takes on the particular form which will best serve his purpose; e.g., he appears to a scholar in the form of a beggar imploring pity (the beggar should receive Tzedakah)(M. Ḳ. 28a). "When pestilence rages in the town, walk not in the middle of the street, because the Angel of Death [i.e., pestilence] strides there; if peace reigns in the town, walk not on the edges of the road. When pestilence rages in the town, go not alone to the synagogue, because there the Angel of Death stores his tools. If the dogs howl, the Angel of Death has entered the city; if they make sport, the prophet Elijah has come" (B. Ḳ. 60b). The "destroyer" (saṭan ha-mashḥit) in the daily prayer is the Angel of Death (Ber. 16b). Midr. Ma'ase Torah (compare Jellinek, "B. H." ii. 98) says: "There are six Angels of Death: Gabriel over kings; Ḳapẓiel over youths; Mashbir over animals; Mashḥit over children; Af and Ḥemah over man and beast." Samael is considered in Talmudic texts to be a member of the heavenly host with often grim and destructive duties. One of Samael's greatest roles in Jewish lore is that of the main angel of death and the head of satans.[30] Scholars and the Angel of Death The Angel of Death, sculpture of a funeral gondola, Venice. Photo by Paolo Monti, 1951. Talmud teachers of the 4th century associate quite familiarly with him. When he appeared to one on the street, the teacher reproached him with rushing upon him as upon a beast, whereupon the angel called upon him at his house. To another, he granted a respite of thirty days, that he might put his knowledge in order before entering the next world. To a third, he had no access, because he could not interrupt the study of the Talmud. To a fourth, he showed a rod of fire, whereby he is recognized as the Angel of Death (M. K. 28a). He often entered the house of Bibi and conversed with him (Ḥag. 4b). Often, he resorts to strategy in order to interrupt and seize his victim (B. M. 86a; Mak. 10a). The death of Joshua ben Levi in particular is surrounded with a web of fable. When the time came for him to die and the Angel of Death appeared to him, he demanded to be shown his place in paradise. When the angel had consented to this, he demanded the angel's knife, that the angel might not frighten him by the way. This request also was granted him, and Joshua sprang with the knife over the wall of paradise; the angel, who is not allowed to enter paradise, caught hold of the end of his garment. Joshua swore that he would not come out, and God declared that he should not leave paradise unless he had ever absolved himself of an oath; he had never absolved himself of an oath so he was allowed to remain. The Angel of Death then demanded back his knife, but Joshua refused. At this point, a heavenly voice (bat ḳol) rang out: "Give him back the knife, because the children of men have need of it will bring death." Hesitant, Joshua Ben Levi gives back the knife in exchange for the Angel of Death's name. To never forget the name, he carved Troke into his arm, the Angel of Death's chosen name. When the knife was returned to the Angel, Joshua's carving of the name faded, and he forgot. (Ket. 77b; Jellinek, l.c. ii. 48–51; Bacher, l.c. i. 192 et seq.). Rabbinic views The Rabbis found the Angel of Death mentioned in Psalm 89:48, where the Targum translates: "There is no man who lives and, seeing the Angel of Death, can deliver his soul from his hand." Eccl. 8:4 is thus explained in Midrash Rabbah to the passage: "One may not escape the Angel of Death, nor say to him, 'Wait until I put my affairs in order,' or 'There is my son, my slave: take him in my stead.'" Where the Angel of Death appears, there is no remedy, but his name (Talmud, Ned. 49a; Hul. 7b). If one who has sinned has confessed his fault, the Angel of Death may not touch him (Midrash Tanhuma, ed. Buber, 139). God protects from the Angel of Death (Midrash Genesis Rabbah lxviii.). By acts of benevolence, the anger of the Angel of Death is overcome; when one fails to perform such acts the Angel of Death will make his appearance (Derek Ereẓ Zuṭa, viii.). The Angel of Death receives his orders from God (Ber. 62b). As soon as he has received permission to destroy, however, he makes no distinction between good and bad (B. Ḳ. 60a). In the city of Luz, the Angel of Death has no power, and, when the aged inhabitants are ready to die, they go outside the city (Soṭah 46b; compare Sanh. 97a). A legend to the same effect existed in Ireland in the Middle Ages (Jew. Quart. Rev. vi. 336). In Christianity Gustave Doré Death on the Pale Horse (1865) – The fourth Horseman of the Apocalypse Death is one of the Four Horsemen of the Apocalypse portrayed in the Book of Revelation, in Revelation 6:7–8.[31]     And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.     — Revelation 6:8, King James Version He is also known as the Pale Horseman whose name is Thanatos, the same as that of the ancient Greek personification of death, and the only one of the horsemen to be named. Paul addresses a personified death in 1 Corinthians 15:55.     "O Death, where is your sting? O Hades, where is your victory?"     — 1 Corinthians 15:55, New King James Version In some versions, both arms of this verse are addressed to death.[32] The Christian scriptures contain the first known depiction of Abaddon as an individual entity instead of a place.     A king, the angel of the bottomless pit; whose name in Hebrew is Abaddon, and in Greek Apollyon; in Latin Exterminans.     — Revelation 9:11, Douay–Rheims Bible In Hebrews 2:14 the devil "holds the power of death."[33]     Since therefore the children share in flesh and blood, he himself likewise partook of the same things, that through death he might destroy the one who has the power of death, that is, the devil, and deliver all those who through fear of death were subject to lifelong slavery.     — Hebrews 2:14-15, English Standard Version Although many of Samael's functions resemble the Christian notion of Satan, to the point of being sometimes identified as a fallen angel,[34][35]: 257–60  in others he is not necessarily evil, since his functions are also regarded as resulting in good, such as destroying sinners.[36] Conversely, the early Christian writer Origen believed the destroying angel of Exodus 12:23 to be Satan.[37]     The last enemy to be destroyed is death.     — 1 Corinthians 15:26, New International Version In Islam In Islam, Archangel Azrael is the Malak al-Maut (angel of death). He and his many subordinates pull the souls out of the bodies, and guide them through the journey of the afterlife. Their appearance depends on the person's deed and actions, with those that did good seeing a beautiful being, and those that did wrong seeing a horrific monster. Islamic tradition discusses elaborately as to what exactly happens before, during, and after the death. The angel of death appears to the dying to take out their souls. The sinners' souls are extracted in a most painful way while the righteous are treated easily.[38] After the burial, two angels – Munkar and Nakir – come to question the dead in order to test their faith. The righteous believers answer correctly and live in peace and comfort while the sinners and disbelievers fail and punishments ensue.[38][39] The time period or stage between death and resurrection is called barzakh (the interregnum).[38] Death is a significant event in Islamic life and theology. It is seen not as the termination of life, rather the continuation of life in another form. In Islamic belief, God has made this worldly life as a test and a preparation ground for the afterlife; and with death, this worldly life comes to an end.[40] Thus, every person has only one chance to prepare themselves for the life to come where God will resurrect and judge every individual and will entitle them to rewards or punishment, based on their good or bad deeds.[40][41] And death is seen as the gateway to and beginning of the afterlife. In Islamic belief, death is predetermined by God, and the exact time of a person's death is known only to God. Media Songs "Death Don't Have No Mercy" Main article: Death Don't Have No Mercy The 1960 gospel blues song "Death Don't Have No Mercy", composed and first recorded by Blind Gary Davis, portrays death as an inevitable and periodic visitor.[42] According to the musicologist David Malvinni, it "presents a terrifying personification of the instant, sudden possibility [of] death at any moment that could have come from the medieval era's confrontation with the plague".[43] "Creeping Death" Main article: Creeping Death The 1984 thrash metal song "Creeping Death", recorded by Metallica, references the angel of death, among other religious symbols. It is described by the writer Tom King as "a tale of righteous Biblical rage and devastation straight out of the Book of Revelations".[44] Books death (Death with Interruptions or Death at Intervals) Main article: Death with Interruptions Nobel laureate José Saramago's novel features an anthropomorphised death as its main character, who insists that her name be written lowercase. She is depicted as a skeleton who can shapeshift and be omnipresent and has a scythe, though she doesn't always carry it. Her jurisdiction is limited to the imaginary country where the story happens and to the human species. It is implied that other deaths with jurisdiction over different life forms and territories exist, as well as an overarching death and/or god. The book deals with how society relates to death, both as a phenomenon and a character, and likewise how death relates to the people she is meant to kill and with loneliness and love. Death (Discworld) Main article: Death (Discworld) Death is a fictional character in Terry Pratchett's Discworld series, and depicted as one of many Deaths. His jurisdiction is specifically the Discworld itself; he is only a part, or minion, of Azrael, the universal Death. Death has appeared in every Discworld novel, with the exception of The Wee Free Men and Snuff. Mort, published in 1987, is the first time Death appears as a leading character.[45] Death (The Book Thief) Main article: The Book Thief Death is the narrator of Markus Zusak's 2005 novel The Book Thief. As the collector of souls, he tells the coming of age story about a young girl in Nazi Germany and World War II.[46] Death (Harry Potter) Main article: The Tales of Beedle the Bard Death appears in "The Tale of Three Brothers" in J.K. Rowling's The Tales of Beedle the Bard, a collection of fairytales featured in her Harry Potter series. Three brothers avoid Death and Death, furious at being avoided, offers the brothers gifts. Two of these gifts, the Elder Wand and the Resurrection Stone lead to the first two brothers' deaths. The third brother, gifted with the Invisibility Cloak avoids Death until old age, where he then goes with Death like an old friend. These gifts became the Deathly Hallows.[47] Death (Incarnations of Immortality) Main article: On a Pale Horse Death is a held office in Piers Anthony's 1983 novel On a Pale Horse.[48] The character Zane becomes Death after a suicide attempt that ends up killing the previous Death. He is taught by his fellow Incarnations Time and Fate and must defeat the Incarnation of Evil, Satan. He is given several items to aid him on his job, including a watch to stop local time, jewels to measure how much good and evil is in a person for judgment, and his pale horse Mortis, who often takes the form of a pale car. Zane as Death appears in Anthony's following novels, notably Bearing an Hourglass. Charlie Asher (A Dirty Job) Main article: A Dirty Job Death is a career in Christopher Moore's A Dirty Job.[49] Charlie Asher is chosen to be a "Death Merchant" for retrieving souls and protect them from dark forces while managing his story and raising his newborn daughter. Comics Death (DC Comics) Main article: Death (DC Comics) Death first appeared in The Sandman vol. 2, #8 (August 1989), and was created by Neil Gaiman and Mike Dringenberg.[50] She is both an embodiment of death and a psychopomp in The Sandman Universe, and depicted as a down to earth, perky, and nurturing figure. Death is the second born of The Endless and she states "When the last living thing dies, my job will be finished. I'll put the chairs on the tables, turn out the lights and lock the universe behind me when I leave."[51] Death also appears briefly in Fables #11 (May 2003) titled "Bag O' Bones", where Jack Horner traps Death in a magical bag that never gets full.[52] There has been no indication as to whether Fables has any connection to the Sandman universe. Death (Marvel Comics) Main article: Death (Marvel Comics) The character first appeared in Captain Marvel #26 (Jun. 1973) and was created by Mike Friedrich and Jim Starlin. Death is an abstract entity, the embodiment of the end of life in the Marvel Universe, and resides inside a pocket dimension known as the Realm of Death.[53] The character can change appearance at will shown in a storyline of Captain Marvel where Thanos' scheme to conquer the universe, as the character becomes determined to prove his love for Death by destroying all life. Lady MacDeath (Bug-a-Boo) Main article: Bug-a-Booo Lady MacDeath is a Grim Reaper, the personification of Death who is responsible of going after all people whose time to die has come, although unlike a typical Grim Reaper, her body is not pictured as made of bones. She uses her sickle to kill people, by hitting them in the head, and then she takes their souls to the purgatory, for them to be judged and sent whether to hell or heaven (sometimes after much bureaucracy). She always carries a list with the name of the people she must kill on the day. Most of her stories feature a pursuit, sometimes punctuated with struggles faced every day by normal people. Maurício de Souza says that the purpose of creating her is "taking death less seriously, while it doesn't come to us". Film     This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2021) (Learn how and when to remove this template message) Death Takes a Holiday (1934) Main article: Death Takes a Holiday After years of questioning why people fear him, Death takes on human form for three days so that he can mingle among mortals and find an answer. He finds a host in Duke Lambert after revealing himself and his intentions to the Duke, and takes up temporary residence in the Duke's villa. However, events soon spiral out of control as Death falls in love with the beautiful young Grazia. As he does so, Duke Lambert, the father of Grazia's mortal lover Corrado, begs him to give Grazia up and leave her among the living. Death must decide whether to seek his own happiness, or sacrifice it so that Grazia may live. The 1998 American film Meet Joe Black is loosely based on the 1934 film. While on Earth, Death, living under the name Joe Black, enlists the wealthy Bill Parrish to be his guide to mortal life, and in exchange guarantees that Bill will not die as long as he serves as "Joe's" guide. Joe falls in love with Bill's youngest daughter, Susan, a resident in internal medicine, and learns the meaning of both friendship and love. The Seventh Seal (1957) Main article: The Seventh Seal Death is one of the main characters in 1957 Swedish historical fantasy film The Seventh Seal. The film tells the story of a knight encountering Death, whom he challenges to a chess match, believing he can survive as long as the game continues.[54] These scenes are parodied in the 1991 comedy film Bill & Ted's Bogus Journey, in which the title characters repeatedly beat Death playing a variety of family board games such as Battleships and Twister. Death goes on to accompany Bill and Ted for the remainder of the film as a major supporting character.[55] The scene from "The Seventh Seal" is also parodied in a one-act play by Woody Allen called "Death," in which the personification of death agrees to play gin rummy and loses badly, altering his plans to "take" his opponent. The Adventures of Baron Munchausen (1988) Throughout the film, Munchausen is pursued by Death, a skeletal angel with raven's wings, carrying a scythe in one hand and an hourglass in the other. At the end, Death, in the form of a grim physician, extracts Munchausen's glowing life force, and Munchausen is given a lavish funeral before boldly claiming it was "one of the many times I faced Death." Final Destination film series (2000–2011) Main article: Final Destination In each of the Final Destination films, a group of protagonists escapes a disaster in which many innocent people are killed. Their escapes alter the design intended by Death, which, while never portrayed as a physical entity, is instead described as an omniscient supernatural consciousness. In each film, the characters learn that they are doomed to die, and that Death will follow them, before leading each into a unique death by misadventure. Television In 1987 Australia produced a Grim Reaper commercial to raise public awareness about the danger of HIV/AIDS.[56] In the British children's sketch television show Horrible Histories, Death (portaryed by Simon Farnaby) is a reoccurring character who appears the segment, Stupid Deaths and later in its 6th series, Chatty Deaths. Theatre Elisabeth Viennese musical (1992) Main article: Elisabeth (musical) The personfication of Death or the Grim Reaper is the leading male role in the 1992 Viennese musical, depicting the titular Empress of Austria-Hungary Empire's fictionalised life and her entanglements and obsession with Death.[57] Portrayals of Death varies between productions from androgynous to masculine, dressed at various times in all black or all white. [58] Video Games The personification of Death appears many times in many different games, especially Castlevania and The Sims. Nearly all iterations of a "Death" or "Grim Reaper" character feature most of the same characteristics seen in other media and pop culture: a skeleton wearing a cloak and wielding a scythe." (wikipedia.org) "In works of art, the adjective macabre (US: /məˈkɑːb/ or UK: /məˈkɑːbrə/; French: [makabʁ]) means "having the quality of having a grim or ghastly atmosphere". The macabre works to emphasize the details and symbols of death. The term also refers to works particularly gruesome in nature.... History The quality is not often found in ancient Greek and Latin writers[citation needed], though there are traces of it in Apuleius and the author of the Satyricon. Outstanding instances in English literature include the works of John Webster, Robert Louis Stevenson, Mervyn Peake, Charles Dickens, Roald Dahl, Thomas Hardy and Cyril Tourneur.[1] In American literature, authors whose work feature this quality include Edgar Allan Poe, H. P. Lovecraft, and Stephen King. The word has gained its significance from its use in French as la danse macabre for the allegorical representation of the ever-present and universal power of death, known in English as the Dance of Death and in German as Totentanz. The typical form which the allegory takes is that of a series of images in which Death appears, either as a dancing skeleton or as a shrunken shrouded corpse, to people representing every age and condition of life, and leads them all in a dance to the grave. Of the numerous examples painted or sculptured on the walls of cloisters or church yards through medieval Europe, few remain except in woodcuts and engravings.     The series at Basel originally at the Klingenthal, a nunnery in Little Basel, dated from the beginning of the 14th century. In the middle of the 15th century this was moved to the churchyard of the Predigerkloster at Basel, and was restored, probably by Hans Kluber, in 1568. The collapse of the wall in 1805 reduced it to fragments, and only drawings of it remain.     A Dance of Death in its simplest form still survives in the Marienkirche at Lübeck as 15th-century painting on the walls of a chapel. Here there are 24 figures in couples, between each is a dancing Death linking the groups by outstretched hands, the whole ring being led by a Death playing on a pipe.     In Tallinn (Reval), Estonia there is a well-known Danse Macabre painting by Bernt Notke displayed at St. Nikolaus Church (Niguliste), dating the end of 15th century.     At Dresden there is a sculptured life-size series in the old Neustädter Kirchhoff, moved here from the palace of Duke George in 1701 after a fire.     At Rouen in the cloister of St Maclou there also remains a sculptured danse macabre.     There was a celebrated fresco of the subject in the cloister of Old St Pauls in London.     There was another in the now destroyed Hungerford Chapel at Salisbury, of which only a single woodcut, "Death and the Gallant", remains.     Of the many engraved reproductions of the Old St Pauls fresco, the most famous is the series drawn by Holbein. The theme continued to inspire artists and musicians long after the medieval period, Schubert's string quartet Death and the Maiden (1824) being one example, and Camille Saint-Saëns' tone poem Danse macabre, op. 40 (1847). In the 20th century, Ingmar Bergman's 1957 film The Seventh Seal has a personified Death, and could thus count as macabre. The origin of this allegory in painting and sculpture is disputed. It occurs as early as the 14th century, and has often been attributed to the overpowering consciousness of the presence of death due to the Black Death and the miseries of the Hundred Years' War. It has also been attributed to a form of the Morality, a dramatic dialogue between Death and his victims in every station of life, ending in a dance off the stage.[2] The origin of the peculiar form the allegory has taken has also been found in the dancing skeletons on late Roman sarcophagi and mural paintings at Cumae or Pompeii, and a false connection has been traced with "The Triumph of Death", attributed to Orcagna, in the Campo Santo at Pisa. Etymology The etymology of the word "macabre" is uncertain. According to Gaston Paris[3] it first occurs in the form "macabre" in Jean le Fèvre's Respit de la mort (1376), Je fis de Macabré la danse, and he takes this accented form to be the true one, and traces it in the name of the first painter of the subject. The more usual explanation is based on the Latin name, Machabaeorum chorea (Dance of Maccabees). The seven tortured brothers, with their mother and Eleazar (2 Maccabees 6 and 7) were prominent figures on this hypothesis in the supposed dramatic dialogues.[4] Other connections have been suggested, as for example with St. Macarius, or Macaire, the hermit, who, according to Vasari, is to be identified with the figure pointing to the decaying corpses in the Pisan Triumph of Death, or with an Arabic word maqābir (مقابر), cemeteries (plural of maqbara." (wikipedia.org) "emento mori (Latin for 'remember that you [have to] die'[2]) is an artistic or symbolic reminder of the inevitability of death.[2] The concept has its roots in the philosophers of classical antiquity and Christianity, and appeared in funeral art and architecture of the medieval period. Memento mori jewelry with skull or coffin motifs became popular in the late 16th century, and it was reflected in the artistic genre of vanitas, where symbolic objects such as hourglasses and wilting flowers signified the impermanence of human life.... Pronunciation and translation In English, the phrase is pronounced /məˈmɛntoʊ ˈmɔːri/, mə-MEN-toh MOR-ee. Memento is the 2nd person singular active imperative of meminī, 'to remember, to bear in mind', usually serving as a warning: "remember!" Morī is the present infinitive of the deponent verb morior 'to die'.[3] In other words, "remember death" or "remember that you die".[4] History of the concept In classical antiquity The philosopher Democritus trained himself by going into solitude and frequenting tombs.[5] Plato's Phaedo, where the death of Socrates is recounted, introduces the idea that the proper practice of philosophy is "about nothing else but dying and being dead".[6] The Stoics of classical antiquity were particularly prominent in their use of this discipline, and Seneca's letters are full of injunctions to meditate on death.[7] The Stoic Epictetus told his students that when kissing their child, brother, or friend, they should remind themselves that they are mortal, curbing their pleasure, as do "those who stand behind men in their triumphs and remind them that they are mortal".[8] The Stoic Marcus Aurelius invited the reader to "consider how ephemeral and mean all mortal things are" in his Meditations.[9][10] In Judaism Several passages in the Old Testament urge a remembrance of death. In Psalm 90, Moses prays that God would teach his people "to number our days that we may get a heart of wisdom" (Ps. 90:12). In Ecclesiastes, the Preacher insists that "It is better to go to the house of mourning than to go to the house of feasting, for this is the end of all mankind, and the living will lay it to heart" (Eccl. 7:2). In Isaiah, the lifespan of human beings is compared to the short lifespan of grass: "The grass withers, the flower fades when the breath of the LORD blows on it; surely the people are grass" (Is. 40:7). In early Christianity The expression memento mori developed with the growth of Christianity, which emphasized Heaven, Hell, and salvation of the soul in the afterlife.[11] The 2nd-century Christian writer Tertullian claimed that during his triumphal procession, a victorious general would have someone (in later versions, a slave) standing behind him, holding a crown over his head and whispering "Respice post te. Hominem te memento" ("Look after you [to the time after your death] and remember you're [only] a man."). Though in modern times this has become a standard trope, in fact no other ancient authors confirm this, and it may have been Christian moralizing rather than an accurate historical report.[12] In Europe from the medieval era to the Victorian era Dance of Death (15th-century fresco). No matter one's station in life, the Dance of Death unites all. Philosophy The thought was then utilized in Christianity, whose strong emphasis on divine judgment, heaven, hell, and the salvation of the soul brought death to the forefront of consciousness.[13] In the Christian context, the memento mori acquires a moralizing purpose quite opposed to the nunc est bibendum (now is the time to drink) theme of classical antiquity. To the Christian, the prospect of death serves to emphasize the emptiness and fleetingness of earthly pleasures, luxuries, and achievements, and thus also as an invitation to focus one's thoughts on the prospect of the afterlife. A Biblical injunction often associated with the memento mori in this context is In omnibus operibus tuis memorare novissima tua, et in aeternum non peccabis (the Vulgate's Latin rendering of Ecclesiasticus 7:40, "in all thy works be mindful of thy last end and thou wilt never sin.") This finds ritual expression in the rites of Ash Wednesday, when ashes are placed upon the worshipers' heads with the words, "Remember Man that you are dust and unto dust, you shall return." Memento mori has been an important part of ascetic disciplines as a means of perfecting the character by cultivating detachment and other virtues, and by turning the attention towards the immortality of the soul and the afterlife.[14] Architecture Unshrouded skeleton on Diana Warburton's tomb (dated 1693) in St John the Baptist Church, Chester The most obvious places to look for memento mori meditations are in funeral art and architecture. Perhaps the most striking to contemporary minds is the transi or cadaver tomb, a tomb that depicts the decayed corpse of the deceased. This became a fashion in the tombs of the wealthy in the fifteenth century, and surviving examples still offer a stark reminder of the vanity of earthly riches. Later, Puritan tomb stones in the colonial United States frequently depicted winged skulls, skeletons, or angels snuffing out candles. These are among the numerous themes associated with skull imagery. Another example of memento mori is provided by the chapels of bones, such as the Capela dos Ossos in Évora or the Capuchin Crypt in Rome. These are chapels where the walls are totally or partially covered by human remains, mostly bones. The entrance to the Capela dos Ossos has the following sentence: "We bones, lying here bare, await yours." Visual art Philippe de Champaigne's Vanitas (c. 1671) is reduced to three essentials: Life, Death, and Time Timepieces have been used to illustrate that the time of the living on Earth grows shorter with each passing minute. Public clocks would be decorated with mottos such as ultima forsan ("perhaps the last" [hour]) or vulnerant omnes, ultima necat ("they all wound, and the last kills"). Clocks have carried the motto tempus fugit, "time flees". Old striking clocks often sported automata who would appear and strike the hour; some of the celebrated automaton clocks from Augsburg, Germany had Death striking the hour. Private people carried smaller reminders of their own mortality. Mary, Queen of Scots owned a large watch carved in the form of a silver skull, embellished with the lines of Horace, "Pale death knocks with the same tempo upon the huts of the poor and the towers of Kings." In the late 16th and through the 17th century, memento mori jewelry was popular. Items included mourning rings,[15] pendants, lockets, and brooches.[16] These pieces depicted tiny motifs of skulls, bones, and coffins, in addition to messages and names of the departed, picked out in precious metals and enamel.[16][17] During the same period there emerged the artistic genre known as vanitas, Latin for "emptiness" or "vanity". Especially popular in Holland and then spreading to other European nations, vanitas paintings typically represented assemblages of numerous symbolic objects such as human skulls, guttering candles, wilting flowers, soap bubbles, butterflies, and hourglasses. In combination, vanitas assemblies conveyed the impermanence of human endeavours and of the decay that is inevitable with the passage of time. See also the themes associated with the image of the skull. Literature Memento mori is also an important literary theme. Well-known literary meditations on death in English prose include Sir Thomas Browne's Hydriotaphia, Urn Burial and Jeremy Taylor's Holy Living and Holy Dying. These works were part of a Jacobean cult of melancholia that marked the end of the Elizabethan era. In the late eighteenth century, literary elegies were a common genre; Thomas Gray's Elegy Written in a Country Churchyard and Edward Young's Night Thoughts are typical members of the genre. In the European devotional literature of the Renaissance, the Ars Moriendi, memento mori had moral value by reminding individuals of their mortality.[18] Music Apart from the genre of requiem and funeral music, there is also a rich tradition of memento mori in the Early Music of Europe. Especially those facing the ever-present death during the recurring bubonic plague pandemics from the 1340s onward tried to toughen themselves by anticipating the inevitable in chants, from the simple Geisslerlieder of the Flagellant movement to the more refined cloistral or courtly songs. The lyrics often looked at life as a necessary and god-given vale of tears with death as a ransom, and they reminded people to lead sinless lives to stand a chance at Judgment Day. The following two Latin stanzas (with their English translations) are typical of memento mori in medieval music; they are from the virelai ad mortem festinamus of the Llibre Vermell de Montserrat from 1399:     Vita brevis breviter in brevi finietur,     Mors venit velociter quae neminem veretur,     Omnia mors perimit et nulli miseretur.     Ad mortem festinamus peccare desistamus.         Life is short, and shortly it will end;         Death comes quickly and respects no one,         Death destroys everything and takes pity on no one.         To death we are hastening, let us refrain from sinning.     Ni conversus fueris et sicut puer factus     Et vitam mutaveris in meliores actus,     Intrare non poteris regnum Dei beatus.     Ad mortem festinamus peccare desistamus.         If you do not turn back and become like a child,         And change your life for the better,         You will not be able to enter, blessed, the Kingdom of God.         To death we are hastening, let us refrain from sinning. Danse macabre The danse macabre is another well-known example of the memento mori theme, with its dancing depiction of the Grim Reaper carrying off rich and poor alike. This and similar depictions of Death decorated many European churches.... The salutation of the Hermits of St. Paul of France Memento mori was the salutation used by the Hermits of St. Paul of France (1620-1633), also known as the Brothers of Death.[19] It is sometimes claimed that the Trappists use this salutation, but this is not true.[20] In Puritan America Thomas Smith's Self-Portrait Colonial American art saw a large number of memento mori images due to Puritan influence. The Puritan community in 17th-century North America looked down upon art because they believed that it drew the faithful away from God and, if away from God, then it could only lead to the devil. However, portraits were considered historical records and, as such, they were allowed. Thomas Smith, a 17th-century Puritan, fought in many naval battles and also painted. In his self-portrait, we see these pursuits represented alongside a typical Puritan memento mori with a skull, suggesting his awareness of imminent death. The poem underneath the skull emphasizes Thomas Smith's acceptance of death and of turning away from the world of the living:     Why why should I the World be minding, Therein a World of Evils Finding. Then Farwell World: Farwell thy jarres, thy Joies thy Toies thy Wiles thy Warrs. Truth Sounds Retreat: I am not sorye. The Eternall Drawes to him my heart, By Faith (which can thy Force Subvert) To Crowne me (after Grace) with Glory. Mexico's Day of the Dead Posada's 1910 La Calavera Catrina Main article: Day of the Dead Much memento mori art is associated with the Mexican festival Day of the Dead, including skull-shaped candies and bread loaves adorned with bread "bones." This theme was also famously expressed in the works of the Mexican engraver José Guadalupe Posada, in which people from various walks of life are depicted as skeletons. Another manifestation of memento mori is found in the Mexican "Calavera", a literary composition in verse form normally written in honour of a person who is still alive, but written as if that person were dead. These compositions have a comedic tone and are often offered from one friend to another during Day of the Dead.[21] Contemporary culture Roman Krznaric suggests Memento Mori is an important topic to bring back into our thoughts and belief system; “Philosophers have come up with lots of what I call ‘death tasters’ – thought experiments for seizing the day." These thought experiments are powerful to get us re-oriented back to death into current awareness and living with spontaneity. Albert Camus stated “Come to terms with death, thereafter anything is possible.” Jean-Paul Sartre expressed that life is given to us early, and is shortened at the end, all the while taken away at every step of the way, emphasizing that the end is only the beginning every day.[22] Similar concepts in other religions and cultures In Buddhism The Buddhist practice maraṇasati meditates on death. The word is a Pāli compound of maraṇa 'death' (an Indo-European cognate of Latin mori) and sati 'awareness', so very close to memento mori. It is first used in early Buddhist texts, the suttapiṭaka of the Pāli Canon, with parallels in the āgamas of the "Northern" Schools. In Japanese Zen and samurai culture In Japan, the influence of Zen Buddhist contemplation of death on indigenous culture can be gauged by the following quotation from the classic treatise on samurai ethics, Hagakure:[23]     The Way of the Samurai is, morning after morning, the practice of death, considering whether it will be here or be there, imagining the most sightly way of dying, and putting one's mind firmly in death. Although this may be a most difficult thing, if one will do it, it can be done. There is nothing that one should suppose cannot be done.[24] In the annual appreciation of cherry blossom and fall colors, hanami and momijigari, it was philosophized that things are most splendid at the moment before their fall, and to aim to live and die in a similar fashion.[citation needed] In Tibetan Buddhism Tibetan Citipati mask depicting Mahākāla. The skull mask of Citipati is a reminder of the impermanence of life and the eternal cycle of life and death. In Tibetan Buddhism, there is a mind training practice known as Lojong. The initial stages of the classic Lojong begin with 'The Four Thoughts that Turn the Mind', or, more literally, 'Four Contemplations to Cause a Revolution in the Mind'.[citation needed] The second of these four is the contemplation on impermanence and death. In particular, one contemplates that;     All compounded things are impermanent.     The human body is a compounded thing.     Therefore, death of the body is certain.     The time of death is uncertain and beyond our control. There are a number of classic verse formulations of these contemplations meant for daily reflection to overcome our strong habitual tendency to live as though we will certainly not die today. Lalitavistara Sutra The following is from the Lalitavistara Sūtra, a major work in the classical Sanskrit canon:     अध्रुवं त्रिभवं शरदभ्रनिभं नटरङ्गसमा जगिर् ऊर्मिच्युती। गिरिनद्यसमं लघुशीघ्रजवं व्रजतायु जगे यथ विद्यु नभे॥         The three worlds are fleeting like autumn clouds.         Like a staged performance, beings come and go.         In tumultuous waves, rushing by, like rapids over a cliff.         Like lightning, wanderers in samsara burst into existence, and are gone in a flash.     ज्वलितं त्रिभवं जरव्याधिदुखैः मरणाग्निप्रदीप्तमनाथमिदम्। भवनि शरणे सद मूढ जगत् भ्रमती भ्रमरो यथ कुम्भगतो॥         Beings are ablaze with the sufferings of sickness and old age,         And with no defence against the conflagration of Death         The bewildered, seeking refuge in worldly existence         Spin round and round, like bees trapped in a jar.[25] The Udānavarga A very well known verse in the Pali, Sanskrit and Tibetan canons states [this is from the Sanskrit version, the Udānavarga:     सर्वे क्षयान्ता निचयाः पतनान्ताः समुच्छ्रयाः |     सम्योगा विप्रयोगान्ता मरणान्तं हि जीवितम् |1,22|         All that is acquired will be lost         What rises will fall         Where there is meeting there will be separation         What is born will surely die.[26] Shantideva, Bodhicaryavatara Shantideva, in the Bodhisattvacaryāvatāra 'Bodhisattva's Way of Life' reflects at length: कृताकृतापरीक्षोऽयं मृत्युर्विश्रम्भघातकः। स्वस्थास्वस्थैरविश्वास्य आकमिस्मकमहाशनि:॥ २/३४॥     Death does not differentiate between tasks done and undone. This traitor is not to be trusted by the healthy or the ill, for it is like an unexpected, great thunderbolt. BCA 2.33 अप्रिया न भविष्यन्ति प्रियो मे न भविष्यति। अहं च न भविष्यामि सर्वं च न भविष्यति॥ २/३७॥     My enemies will not remain, nor will my friends remain. I shall not remain. Nothing will remain. BCA 2:35 तत्तत्स्मरणताम याति यद्यद्वस्त्वनुभयते। स्वप्नानुभूतवत्सर्वं गतं न पूनरीक्ष्यते॥ २/३६॥     Whatever is experienced will fade to a memory. Like an experience in a dream, everything that has passed will not be seen again. BCA 2:36 रात्रिन्दिवमविश्राममायुषो वर्धते व्ययः। आयस्य चागमो नास्ति न मरिष्यामि किं न्वहम्॥ २/४०     Day and night, a life span unceasingly diminishes, and there is no adding onto it. Shall I not die then? BCA 2:39 यमदूतैर्गृहीतस्य कुतो बन्धुः कुतः सुह्रत्। पुण्यमेकं तदा त्राणं मया तच्च न सेवितम्॥ २/४१॥     For a person seized by the messengers of Death, what good is a relative and what good is a friend? At that time, merit alone is a protection, and I have not applied myself to it. BCA 2:41 In more modern Tibetan Buddhist works In a practice text written by the 19th century Tibetan master Dudjom Lingpa for serious meditators, he formulates the second contemplation in this way:[27][28]     On this occasion when you have such a bounty of opportunities in terms of your body, environment, friends, spiritual mentors, time, and practical instructions, without procrastinating until tomorrow and the next day, arouse a sense of urgency, as if a spark landed on your body or a grain of sand fell in your eye. If you have not swiftly applied yourself to practice, examine the births and deaths of other beings and reflect again and again on the unpredictability of your lifespan and the time of your death, and on the uncertainty of your own situation. Meditate on this until you have definitively integrated it with your mind... The appearances of this life, including your surroundings and friends, are like last night’s dream, and this life passes more swiftly than a flash of lightning in the sky. There is no end to this meaningless work. What a joke to prepare to live forever! Wherever you are born in the heights or depths of saṃsāra, the great noose of suffering will hold you tight. Acquiring freedom for yourself is as rare as a star in the daytime, so how is it possible to practice and achieve liberation? The root of all mind training and practical instructions is planted by knowing the nature of existence. There is no other way. I, an old vagabond, have shaken my beggar’s satchel, and this is what came out. The contemporary Tibetan master, Yangthang Rinpoche, in his short text 'Summary of the View, Meditation, and Conduct':[29]     །ཁྱེད་རྙེད་དཀའ་བ་མི་ཡི་ལུས་རྟེན་རྙེད། །སྐྱེ་དཀའ་བའི་ངེས་འབྱུང་གི་བསམ་པ་སྐྱེས། །མཇལ་དཀའ་བའི་མཚན་ལྡན་གྱི་བླ་མ་མཇལ། །འཕྲད་དཀའ་བ་དམ་པའི་ཆོས་དང་འཕྲད།     འདི་འདྲ་བའི་ལུས་རྟེན་བཟང་པོ་འདི། །ཐོབ་དཀའ་བའི་ཚུལ་ལ་ཡང་ཡང་སོམ། རྙེད་པ་འདི་དོན་ཡོད་མ་བྱས་ན། །འདི་མི་རྟག་རླུང་གསེབ་མར་མེ་འདྲ།     ཡུན་རིང་པོའི་བློ་གཏད་འདི་ལ་མེད། །ཤི་བར་དོར་གྲོལ་བའི་གདེངས་མེད་ན། །ཚེ་ཕྱི་མའི་སྡུག་བསྔལ་ཨ་རེ་འཇིགས། །མཐའ་མེད་པའི་འཁོར་བར་འཁྱམས་དགོས་ཚེ།     །འདིའི་རང་བཞིན་བསམ་ན་སེམས་རེ་སྐྱོ། །ཚེ་འདི་ལ་བློ་གདེངས་ཐོབ་པ་ཞིག །ཅི་ནས་ཀྱང་མཛད་རྒྱུ་བཀའ་དྲིན་ཆེ། །འདི་བདག་གིས་ཁྱོད་ལ་རེ་བ་ཡིན།         You have obtained a human life, which is difficult to find,         Have aroused an intention of a spirit of emergence, which is difficult to arouse,         Have met a qualified guru, who is difficult to meet,         And you have encountered the sublime Dharma, which is difficult to encounter.         Reflect again and again on the difficulty Of obtaining such a fine human life.         If you do not make this meaningful,         It will be like a butter lamp in the wind of impermanence.         Do not count on this lasting a long time. The Tibetan Canon also includes copious materials on the meditative preparation for the death process and intermediate period bardo between death and rebirth. Amongst them are the famous "Tibetan Book of the Dead", in Tibetan Bardo Thodol, the "Natural Liberation through Hearing in the Bardo". In Islam The "remembrance of death" (Arabic: تذكرة الموت‎, Tadhkirat al-Mawt; deriving from تذكرة, tadhkirah, Arabic for memorandum or admonition), has been a major topic of Islamic spirituality since the time of the Islamic prophet Muhammad in Medina. It is grounded in the Qur'an, where there are recurring injunctions to pay heed to the fate of previous generations.[30] The hadith literature, which preserves the teachings of Muhammad, records advice for believers to "remember often death, the destroyer of pleasures."[31] Some Sufis have been called "ahl al-qubur," the "people of the graves," because of their practice of frequenting graveyards to ponder on mortality and the vanity of life, based on the teaching of Muhammad to visit graves.[32] Al-Ghazali devotes to this topic the last book of his "The Revival of the Religious Sciences".[33] Iceland The Hávamál ("Sayings of the High One"), a 13th century Icelandic compilation poetically attributed to the god Odin, includes two sections – the Gestaþáttr and the Loddfáfnismál – offering many gnomic proverbs expressing the memento mori philosophy, most famously Gestaþáttr number 77:     Deyr fé,     deyja frændur,     deyr sjálfur ið sama;     ek veit einn at aldri deyr,     dómr um dauðan hvern.         Animals die,         friends die,         and thyself, too, shall die;         but one thing I know that never dies         the tales of the one who died." (wikipedia.org) "A vanitas is a symbolic work of art showing the transience of life, the futility of pleasure, and the certainty of death, often contrasting symbols of wealth and symbols of ephemerality and death. Best-known are vanitas still lifes, a common genre in Low Countries of the 16th and 17th centuries; they have also been created at other times and in other media and genres.... Etymology The Latin noun vanitas (from the Latin adjective vanus 'empty') means 'emptiness', 'futility', or 'worthlessness', the traditional Christian view being that earthly goods and pursuits are transient and worthless.[2] It alludes to Ecclesiastes 1:2; 12:8, where vanitas translates the Hebrew word hevel, which also includes the concept of transitoriness.[3][4][5] Themes Pierfrancesco Cittadini 17th century Italian school Vanitas themes were common in medieval funerary art, with most surviving examples in sculpture. By the 15th century, these could be extremely morbid and explicit, reflecting an increased obsession with death and decay also seen in the Ars moriendi, the Danse Macabre, and the overlapping motif of the Memento mori. From the Renaissance such motifs gradually became more indirect and, as the still-life genre became popular, found a home there. Paintings executed in the vanitas style were meant to remind viewers of the transience of life, the futility of pleasure, and the certainty of death. They also provided a moral justification for painting attractive objects. Motifs Vanitas by Harmen Steenwijck Common vanitas symbols include skulls, which are a reminder of the certainty of death; rotten fruit (decay); bubbles (the brevity of life and suddenness of death); smoke, watches, and hourglasses (the brevity of life); and musical instruments (brevity and the ephemeral nature of life). Fruit, flowers and butterflies can be interpreted in the same way, and a peeled lemon was, like life, attractive to look at but bitter to taste. Art historians debate how much, and how seriously, the vanitas theme is implied in still-life paintings without explicit imagery such as a skull. As in much moralistic genre painting, the enjoyment evoked by the sensuous depiction of the subject is in a certain conflict with the moralistic message.[6] Composition of flowers is a less obvious style of vanitas by Abraham Mignon in the National Museum, Warsaw. Barely visible amid vivid and perilous nature (snakes, poisonous mushrooms), a bird skeleton is a symbol of vanity and shortness of life. Vanitas by Jan Sanders van Hemessen Outside visual art     The first movement in composer Robert Schumann's 5 Pieces in a Folk Style, for Cello and Piano, Op. 102 is entitled Vanitas vanitatum: Mit Humor.     Vanitas vanitatum is the title of an oratorio written by an Italian Baroque composer Giacomo Carissimi (1604/1605 -1674).     Composer Richard Barrett's Vanity, for orchestra, is greatly inspired by this movement.     Vanitas is the seventh album by British Extreme Metal band Anaal Nathrakh.     Vanitas is the name of a character from the Kingdom Hearts franchise.     Vanitas is the name of one of the two main characters from Vanitas no Carte     Vanitas is the second album by US power metal band Platinum. In modern times     Jana Sterbak, Vanitas: Flesh Dress for an Albino Anorectic, artwork, 1987.     Alexander de Cadenet, Skull Portraits, various subjects, 1996 – present.     Philippe Pasqua, series of skulls, sculpture, 1990s – present.     Damien Hirst, For the Love of God, sculpture (A diamond skull), 2007.     Anne de Carbuccia, One Planet One Future, various subjects, 2013 – present." (wikipedia.org) "Skull symbolism is the attachment of symbolic meaning to the human skull. The most common symbolic use of the skull is as a representation of death, mortality and the unachievable nature of immortality. Humans can often recognize the buried fragments of an only partially revealed cranium even when other bones may look like shards of stone. The human brain has a specific region for recognizing faces,[1] and is so attuned to finding them that it can see faces in a few dots and lines or punctuation marks; the human brain cannot separate the image of the human skull from the familiar human face. Because of this, both the death and the now-past life of the skull are symbolized. Hindu temples and depiction of some Hindu deities have displayed association with skulls. Moreover, a human skull with its large eye sockets displays a degree of neoteny, which humans often find visually appealing—yet a skull is also obviously dead, and to some can even seem to look sad due to the downward facing slope on the ends of the eye sockets. A skull with the lower jaw intact may also appear to be grinning or laughing due to the exposed teeth. As such, human skulls often have a greater visual appeal than the other bones of the human skeleton, and can fascinate even as they repel. Our present society predominantly associates skulls with death and evil. Unicode reserves character U+1F480 (💀) for a human skull pictogram.... Examples The skull that is often engraved or carved on the head of early New England tombstones might be merely a symbol of mortality, but the skull is also often backed by an angelic pair of wings,[2] lofting mortality beyond its own death. lady at round mirror and dressing table resembling a skull "All is Vanity" by C. Allan Gilbert All is Vanity by C. Allan Gilbert, 1873-1929 One of the best-known examples of skull symbolism occurs in Shakespeare's Hamlet, where the title character recognizes the skull of an old friend: "Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest..." Hamlet is inspired to utter a bitter soliloquy of despair and rough ironic humor. Compare Hamlet's words "Here hung those lips that I have kissed I know not how oft" to Talmudic sources: "...Rabi Ishmael [the High Priest]... put [the severed head of a martyr] in his lap... and cried: oh sacred mouth!...who buried you in ashes...!". The skull was a symbol of melancholy for Shakespeare's contemporaries.[3] Skull art is found in depictions of some Hindu Gods. Lord Shiva has been depicted as carrying skull.[4] Goddess Chamunda is described as wearing a garland of severed heads or skulls (Mundamala). Kedareshwara Temple, Hoysaleswara Temple, Chennakeshava Temple, Lakshminarayana Temple are some of the Hindu temples that include sculptures of skulls and Goddess Chamunda.[5] The temple of Kali is veneered with skulls, but the goddess Kali offers life through the welter of blood. In Elizabethan England, the Death's-Head Skull, usually a depiction without the lower jawbone, was emblematic of bawds, rakes, sexual adventurers and prostitutes; the term Death's-Head was actually parlance for these rakes, and most of them wore half-skull rings to advertise their station, either professionally or otherwise. The original Rings were wide silver objects, with a half-skull decoration not much wider than the rest of the band; This allowed it to be rotated around the finger to hide the skull in polite company, and to reposition it in the presence of likely conquests.[citation needed] Sugar skull given for the Day of the Dead, made with chocolate and amaranth from Mexico Sugar skull given for the Day of the Dead, made with chocolate and amaranth Skulls and skeletons are the main symbol of the Day of the Dead, a Mexican holiday. Skull-shaped decorations called calaveras are a common sight during the festivities. Venetian painters of the 16th century elaborated moral allegories for their patrons, and memento mori was a common theme. The theme carried by an inscription on a rustic tomb, "Et in Arcadia ego"—"I too [am] in Arcadia", if it is Death that is speaking—is made famous by two paintings by Nicolas Poussin, but the motto made its pictorial debut in Guercino's version, 1618-22 (in the Galleria Barberini, Rome): in it, two awestruck young shepherds come upon an inscribed plinth, in which the inscription ET IN ARCADIA EGO gains force from the prominent presence of a wormy skull in the foreground. Next to Mary Magdalene's dressing-mirror, in a convention of Baroque painting[citation needed], the Skull has quite different connotations and reminds the viewer that the Magdalene has become a symbol for repentance. In C. Allan Gilbert's much-reproduced lithograph of a lovely Gibson Girl seated at her fashionable toilette, an observer can witness its transformation into an alternate image. A ghostly echo of the worldly Magdalene's repentance motif lurks behind this turn-of-the-20th century icon. The skull becomes an icon itself when its painted representation becomes a substitute for the real thing. Simon Schama chronicled the ambivalence of the Dutch to their own worldly success during the Dutch Golden Age of the first half of the 17th century in The Embarrassment of Riches. The possibly frivolous and merely decorative nature of the still life genre was avoided by Pieter Claesz in his Vanitas (illustration, below right): Skull, opened case-watch, overturned emptied wineglasses, snuffed candle, book: "Lo, the wine of life runs out, the spirit is snuffed, oh Man, for all your learning, time yet runs on: Vanity!" The visual cues of the hurry and violence of life are contrasted with eternity in this somber, still and utterly silent painting. Skull on table Vanitas, by Pieter Claesz, painted in 1630 from the Mauritzhuis, The Hague Vanitas, by Pieter Claesz, 1630 (Mauritzhuis, The Hague) When the skull appears in Nazi SS insignia, the death's-head (Totenkopf) represents loyalty unto death. However, when tattooed on the forearm its apotropaic power helps an outlaw biker cheat death.[6] The skull and crossbones signify "Poison" when they appear on a glass bottle containing a white powder, or any container in general. But it is not the same emblem when it flies high above the deck as the Jolly Roger: there the pirate death's-head epitomizes the pirates' ruthlessness and despair; their usage of death imagery might be paralleled with their occupation challenging the natural order of things.[7] "Pirates also affirmed their unity symbolically", Marcus Rediker asserts, remarking the skeleton or skull symbol with bleeding heart and hourglass on the black pirate ensign, and asserting "it triad of interlocking symbols— death, violence, limited time—simultaneously pointed to meaningful parts of the seaman's experience, and eloquently bespoke the pirates' own consciousness of themselves as preyed upon in turn. Pirates seized the symbol of mortality from ship captains who used the skull 'as a marginal sign in their logs to indicate the record of a death'"[8] Today, humans typically note the skull and crossbones sign as the almost universal symbol for toxicity. The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, from 1435 The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, 1435 When a skull was worn as a trophy on the belt of the Lombard king Alboin, it was a constant grim triumph over his old enemy, and he drank from it. In the same way a skull is a warning when it decorates the palisade of a city, or deteriorates on a pike at a Traitor's Gate. The Skull Tower, with the embedded skulls of Serbian rebels, was built in 1809 on the highway near Niš, Serbia, as a stark political warning from the Ottoman government. In this case the skulls are the statement: that the current owner had the power to kill the former. "Drinking out of a skull the blood of slain (sacrificial) enemies is mentioned by Ammianus and Livy,[9] and Solinus describes the Irish custom of bathing the face in the blood of the slain and drinking it."[10] The rafters of a traditional Jívaro medicine house in Peru,[11] or in New Guinea. The late medieval and Early Renaissance Northern and Italian painters place the skull where it lies at the foot of the Cross at Golgotha (Aramaic for the place of the skull). But for them it has become quite specifically the skull of Adam. The Serpent crawling through the eyes of a skull is a familiar image that survives in contemporary Goth subculture. The serpent is a chthonic god of knowledge and of immortality, because he sloughs off his skin. The serpent guards the Tree in the Greek Garden of the Hesperides and, later, a Tree in the Garden of Eden. The serpent in the skull is always making its way through the socket that was the eye: knowledge persists beyond death, the emblem says, and the serpent has the secret. Symbolism of Fortuna's wheel divine justice and Skull mortality in a Pompeiian mosaic Symbolism of chance (Fortuna's wheel) divine justice (right angle and plumb-bob) and mortality in a Pompeiian mosaic The skull speaks. It says "Et in Arcadia ego" or simply "Vanitas." In a first-century mosaic tabletop from a Pompeiian triclinium (now in Naples), the skull is crowned with a carpenter's square and plumb-bob, which dangles before its empty eyesockets (Death as the great leveller), while below is an image of the ephemeral and changeable nature of life: a butterfly atop a wheel—a table for a philosopher's symposium. Skull in lady's hat "Calavera de la Catrina" by José Guadalupe Posada Calavera de la Catrina by José Guadalupe Posada (1851-1913) An example of the OSS "Black Propaganda" Humor: at left an Adolf Hitler profile on a "German Reich" stamp; at right the OSS-forged Hitler face version, turned into a death's head on a "Fallen Reich" stamp Similarly, a skull might be seen crowned by a chaplet of dried roses, a carpe diem, though rarely as bedecked as Mexican printmaker José Guadalupe Posada's Catrina. In Mesoamerican architecture, stacks of skulls (real or sculpted) represented the result of human sacrifices. The skull speaks in the catacombs of the Capuchin brothers beneath the church of Santa Maria della Concezione in Rome,[12] where disassembled bones and teeth and skulls of the departed Capuchins have been rearranged to form a rich Baroque architecture of the human condition, in a series of anterooms and subterranean chapels with the inscription, set in bones:     Noi eravamo quello che voi siete, e quello che noi siamo voi sarete.     "We were what you are; and what we are, you will be." An old Yoruba folktale[13] tells of a man who encountered a skull mounted on a post by the wayside. To his astonishment, the skull spoke. The man asked the skull why it was mounted there. The skull said that it was mounted there for talking. The man then went to the king, and told the king of the marvel he had found, a talking skull. The king and the man returned to the place where the skull was mounted; the skull remained silent. The king then commanded that the man be beheaded, and ordered that his head be mounted in place of the skull. In Vajrayana Buddhist iconography, skull symbolism is often used in depictions of wrathful deities and of dakinis. In some Korean life replacement narratives, a person discovers an abandoned skull and worships it. The skull later gives advice on how to cheat the gods of death and prevent an early death. In fashion Alexander McQueen is credited with popularizing a fashion trend with stylized skulls, starting with skull-decorated bags and scarves. The trend is extant by the early 2010s." (wikipedia.org)
  • Condition: New
  • Item Height: 16 in
  • Type: Figurine
  • Color: Multicolor
  • Collection: Dress Up Skeleton
  • Occasion: Halloween
  • Brand: Spooky Village
  • Original/Reproduction: Original
  • Time Period Manufactured: 2010-2019
  • Era: 21st Century (2000-Now)
  • Country/Region of Manufacture: China
  • Style: Arts & Crafts Movement
  • Material: Plastic
  • Theme: Novelty, Seasonal, Sports
  • Features: Hangable
  • Subject: Boxing

PicClick Insights - 16" BOXER SKELETON hangable Halloween decoration jointed horror skeletal boxing PicClick Exclusive

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