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did not succeed in rendering the emotions of the mind. This agrees with the extant evidence, in a certain degree, though not perfectly. The bodies of his men are of far greater excellence than the heads. The face of the
Marsyas is almost a mask; but from the attitude we gain a vivid impression of the passions which sway him. The face of the discus-thrower is calm and unruffled; but all the muscles of his body are concentrated in an effort.
598:
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180:, "which Antony the triumvir took from the Ephesians, but the deified Augustus restored it again after being warned in a dream". The Early Imperial Roman writers consistently rated Myron among the greatest of Greek sculptors, a sign that his contemporaneous reputation had remained high. The heifer seems to have earned its fame mainly by serving as a peg on which to hang
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had thrown away. The full group is copied on coins of Athens, on a vase and in a relief which represent
Marsyas as oscillating between curiosity and the fear of the displeasure of Athena. The ancient critics say of Myron that while he succeeded admirably in giving life and motion to his figures, he
471:
fecit et canem et discobolon et
Perseum et pristas et Satyrum admirantem tibias et Minervam, Delphicos pentathlos, pancratiasta, Herculem, qui est apud circum maximum in aede Pompei Magni. fecisse et cicadae monumentum ac locustae carminibus suis Erinna significat. fecit et Apollinem, quem ab
101:), in which he made a revolution, according to commentators in Antiquity, by introducing greater boldness of pose and a more perfect rhythm, subordinating the parts to the whole. Pliny's remark that Myron's works were
313:
279:, victorious at Olympia in 456 BC, and of Lycinus, victorious in 448 BC and 444 BC. This helps us to fix his date. He was a contemporary, but a somewhat older contemporary, of
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connoted "attentive care to fine points", a quality that, in moderation, was characteristic of the best works of art, according to critics in
Antiquity.
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635:
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None of his original sculptures are known to survive, but there are many of what are believed to be later copies in marble, mostly Roman.
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162:) admiring the flute and Minerva (Athena), a Hercules, which was taken to the shrine dedicated by Pompey the Great at the
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An epigram on Ladas, the fleetest runner of his time, notes that he was commemorated in a sculpture by Myron; of Myron's
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388:, etc.) seem to suggest that he habitually signed his works "Myron the Athenian": Eleutherae became an Athenian
64:
548:
381:
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20:
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Minotaur, from a fountain in Athens, a Roman copy of Myron's lost group of
Theseus and the Minotaur,
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A considerable number of other extant works were ascribed to the school or the influence of Myron by
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and "more diligent" seem to suggest that they were considered more harmonious in proportions (
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triumviro
Antonio sublatum restituit Ephesiis divus Augustus admonitus in quiete"
551:, 1.24.1; H. Anne Weis, "The 'Marsyas' of Myron: Old Problems and New Evidence"
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or "Discus-Thrower", of which several copies exist, of which the best is in the
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622:. Vol. 19 (11th ed.). Cambridge University Press. p. 114.
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Ellen E. Perry, "Notes on
Diligentia as a term of Roman art criticism"
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victor from Sparta, was commemorated in an idealized bronze by Myron.
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also registers stray comments on Myron, especially a large group at
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This article incorporates text from a publication now in the
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443:"numerosior in arte quam Polyclitus et in symmetria diligentior"
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228:; several surviving heads were identified as copies of Myron's
263:. These attributions have not stood up to the test of time. A
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and his fame rested principally upon his representations of
414:" The account of Myron directly follows Pliny's account of
410:, suggests that Myron was also in some sense self-taught: "
558:.2 (April 1979), pp. 214-219, distinguishes two versions.
19:
This article is about the sculptor. For other uses, see
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There are thirty-six epigrams on Myron's heifer in the
243:, is almost certainly a copy of a work of Myron, a
184:, which tell nothing about the pose of the animal.
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Myron's most famous works included "heifer, a dog (
124:Roman marble copy of Myron's most famous work, the
113:) and at the same time more convincing in realism:
580:Bernard Pyne Grenfell and Arthur Surridge Hunt,
8:
50:from the mid-5th century BC. He was born in
532:C.K. Jenkins, "The Reinstatement of Myron"
275:of whom Myron made statues of the athlete
206:there is no known copy. A description by
72:(AD 23 – 79), a scholar in Ancient Rome,
534:The Burlington Magazine for Connoisseurs
486:, most of them remarking on its realism.
306:National Archaeological Museum of Athens
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210:conclusively identifies as Myron's the
239:, which is now restored as a dancing
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539:No. 283 (October 1926), pp. 182-192.
87:Myron worked almost exclusively in
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16:Athenian sculptor, 5th century BC
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571:, (London) 1907, 168—2 19
569:Masterpieces of Greek Sculpture
553:American Journal of Archaeology
460:.4 (October 2000), pp. 445-458.
433:was by Myron (Pausanias 2.30.2)
636:5th-century BC Greek sculptors
412:Hageladae et ipsum discipulum.
341:Roman copy of Myron's heifer,
1:
418:, also a pupil of Ageladas.
247:desirous of picking up the
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646:Ancient Greek athletic art
641:Ancient Athenian sculptors
218:Palazzo Massimi alle Terme
76:of Argos was his teacher.
68:, a Latin encyclopedia by
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18:
232:by C.K. Jenkins in 1926.
158:?), a Perseus, a satyr (
619:Encyclopædia Britannica
235:A marble figure in the
582:The Oxyrhynchus Papyri
365:References and sources
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95:(including his iconic
21:Myron (disambiguation)
176:), and an Apollo for
146:According to Pliny's
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517:Lucian of Samosata,
427:Pausanias thought a
416:Polyclitus of Sicyon
495:Pausanias iii.14.3.
455:Classical Philology
384:' references (e.g.
190:, a 7th-century BC
27:Myron of Eleutherae
358:Capitoline Museums
343:Capitoline Museums
273:victors at Olympia
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54:on the borders of
46:) was an Athenian
356:Head of a boxer,
261:Adolf Furtwängler
43:[mý.rɔːn]
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62:. According to
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105:than those of
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285:Polykleitos
107:Polycleitus
630:Categories
394:in 460 BC.
370:References
269:Oxyrhyncus
213:Discobolus
169:Discobolus
127:Discobolus
115:diligentia
103:numerosior
98:Diskobolos
83:Reputation
52:Eleutherae
549:Pausanias
382:Pausanias
277:Timanthes
281:Pheidias
220:, Rome.
182:epigrams
156:Cerberus
93:athletes
74:Ageladas
48:sculptor
607::
591:Sources
504:In the
403:Pliny,
324:Marsyas
291:Gallery
265:papyrus
245:Marsyas
192:Olympic
188:Chionis
178:Ephesus
160:Marsyas
56:Boeotia
601:
430:xoanon
320:Athena
253:Athena
251:which
222:Strabo
208:Lucian
172:(the
111:numeri
89:bronze
60:Attica
614:Myron
408:34.57
391:demos
386:6.8.4
267:from
249:aulos
241:satyr
226:Samos
204:Ladas
152:canem
142:Works
39:Myrōn
35:Μύρων
322:and
283:and
58:and
616:".
523:18.
130:.
632::
556:83
537:49
458:95
287:.
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37:,
33::
508:.
469:"
23:.
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