The proof that these statues and parts of statues were copied from Myron’s Discobolus depends principally upon a passage in Lucian (about 160 A. D.). [Footnote:  Philopseudes, Section 18.] He gives a circumstantial description of the attitude of that work, or rather of a copy of it, and his description agrees point for point with the statues in question.  This agreement is the more decisive because the attitude is a very remarkable one, no other known figure showing anything in the least resembling it.  Moreover, the style of the Lancellotti statue points to a bronze original of the “Transitional period,” to which on historical grounds Myron is assigned.

Myron’s statue represented a young Greek who had been victorious in the pentathlon, or group of five contests (running, leaping, wrestling, throwing the spear, and hurling the discus), but we have no clue as to where in the Greek world it was set up.  The attitude of the figure seems a strange one at first sight, but other ancient representations, as well as modern experiments, leave little room for doubt that the sculptor has truthfully caught one of the rapidly changing positions which the exercise involved.  Having passed the discus from his left hand to his right, the athlete has swung the missile as far back as possible.  In the next instant he will hurl it forward, at the same time, of course, advancing his left foot and recovering his erect position.  Thus Myron has preferred to the comparatively easy task of representing the athlete at rest, bearing some symbol of victory, the far more difficult problem of exhibiting him in action.  It would seem that he delighted in the expression of movement.  So his Ladas, known to us only from two epigrams in the Anthology, represented a runner panting toward the goal; and others of his athlete statues may have been similarly conceived.  His temple-images, on the other hand, must have been as composed in attitude as the Discobolus is energetic.

The face of the Discobolus is rather typical than individual.  If this is not immediately obvious to the reader, the comparison of a closely allied head may make it clear.  Of the numerous works which have been brought into relation with Myron by reason of their likeness to the Discobolus, none is so unmistakable as a fine bust in Florence (Fig. 105).  The general form of the head, the rendering of the hair, the anatomy of the forehead, the form of the nose and the angle it makes with the forehead—­these and other features noted by Professor Furtwangler are alike in the Discobolus and the Riccardi head.  These detailed resemblances cannot be verified without the help of casts or at least of good photographs taken from different points of view; but the general impression of likeness will be felt convincing, even without analysis.  Now these two works represent different persons, the Riccardi head being probably copied from the statue of some ideal hero.  And the point to be especially illustrated is that in the