As it is, we must probably assign the original to the years just before 450, and regard the unusual freedom with which it is conceived as proof of the originality of Myron rather than as evidence of a general adoption of such active poses by the men of the transitional time. The first is the famous Diskobolos, or Discus Thrower. It is perhaps for this very reason that Greek statues of this type, however beautiful in form, rarely if ever impress us with the same breadth and nobility of conception as the corresponding male figures, whether of gods or men. Myron is often credited as being the first sculpture to master this style. The moment captured in the statue is an example of rhythmos, harmony and balance. Of Myron's recorded works, there are two for which little or no doubt remains for identification through copies.
The subject may be either studied from the point of view of general tendencies, the development of types and ideas, their national character, and the circumstances that surrounded and fostered their growth; or attention may be given to the achievements of individuals, their personality, and the contributions that they respectively made to the general progress. Smith, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Vol. The other trademark of Myron depicted in this sculpture is how well the body is proportioned, symmetria. In the Discobolus, the clear lines of demarcation are not inconsistent with a correct and skilful modeling of the surface. Thus, we have constantly to keep in mind that in dealing with copies, the problem often is to determine, from several widely divergent and differently restored copies, the general appearance and the details of an ancient statue.
A marble copy found in Rome demonstrates the way a sculptor may at the same time hold to conventions and reach out toward new forms. The Palombrara Discobolus was instantly famous. Although Myron made at least one cult statue, an image of Hekate on Aegina, most of his recorded works, at least 21 of which are mentioned by classical authors, were votive in nature: dedications of victorious athletes and worshipers at sanctuaries. The sculpture was well-known in the ancient world. Soon afterwards another headless torso of a discobolus was excavated at the same site and was acquired by Visconti for the papal collection at the Vatican; when a modern head was provided for it Visconti chose to base the restoration on the Townley forgery, rather than on the authentic statue in the Massimo collection. British Museum I, London 1890, pp.
Yet the artist is no less dependent upon external circumstances for the occasion and the material of his works. This concise and beautifully illustrated book tells the story of the Discobolus both as an archaeological artefact and bearer of meaning. Our knowledge of Myron's work comes from ancient literary sources, among the most important of which is Pliny. Athletics are designed to celebrate and exhibit what the human body is capable of. His son Lycius was employed on an important public commission, the statues set up by the knights of Athens at the entrance to the Acropolis, about 446 B. His works are known through descriptions by ancient writers, such as Pliny and Pausanias, and two of them by copies, the Discobolus Gr. This perfection of condition and of all-round muscular development with the help of a well-trained memory is one of the chief attainments of Myron.
His discus-thrower was admired not only for the way it conveys movement and action in a single pose, but also for capturing Greek ideals about proportion, harmony, rhythm and balance. The Lancellotti Discobolus, also known as the Palombara Discobolus, was excavated from the Villa Palambara in Esquilline, Rome in 178118. The head was wrongly restored, as Richard Payne Knight pointed out, but Townley was convinced his was the original and better copy. He also fashioned vessels in metal, following a pattern of involvement in the minor arts common to sculptors in the 5th and 4th centuries B. Sculpting in bronze, he was noted for his animals of which no examples have survived and for his athletes in action. Despite being of similar size, style and age, the two statues can be easily identified from one another in various ways.
Pliny wrote that Myron was the first to achieve life-like representations in figurative sculpture. He was famed for his sculptures of powerful athletes and life-like animals. On our travels we see many wonderful museum pieces that have been excavated from archaeological sites. Athleticism, however, gave one important thing to the Greeks. The muscles appear about as natural as those in the contemporary Olympian pediment sculpture, and yet this is a single figure. Another popular work was that of Lycinus c. To judge from the list of his works and the places where they were set up, he must have enjoyed a reputation throughout Hellenic lands.
The head of the statue has been properly restored, unlike the Townley Discobolus, and for this reason it is believed to be the more favourable of the tw022. Therefore, there was no need for the eye of the competitor to be turned towards a distant goal, but the head could follow the motion of the arm that swung the quoit, the position of the feet sufficing to define the direction of the throw. Little is known of the distances achieved in antiquity, though an epigram celebrating a throw of 30 metres 95 feet comes as a surprise in the modern world, where the current world record is just over 70 metres. The subtlety of emotion of the discus thrower is a representation of the nobility of the Greeks; an example of the calm, yet powerful nation the Greeks believed themselves to be25. Nevertheless, it is unquestionably antique and has been matched with consummate skill.
The copies of this, which have been found, vary greatly in details. Its date must be very near 450 B. The effect is perhaps somewhat dry, and suggests the appearance of a man in hard training, and even the tension of muscles that would not be exerted at the moment of action is portrayed. This is evidently the meaning of the story, though it is misinterpreted by some later authorities in accordance with the eclectic spirit of their own age. Myron was born at Eleutherai on the Attic side of Mt.