his face focused on his activity. While the pose, with the arms forming a wide arc, is revolutionary, the piece is still meant to be viewed from the front. It would not be until the following century that artists began to conceive of sculpture that could be viewed from all sides.
MYRON
(Active during the first half of the 5th century B. C. E.)
Mid-fifth century B. C. E. Greek sculptor, Myron worked almost exclusively in bronze. Though he made some statues of gods and heroes, his fame rested primarily upon his representations of athletes, for which he proved revolutionary by introducing greater boldness of pose and a more ideal rhythm. His most famous works, according to Pliny, were a cow, Ladas the runner, who fell dead at the moment of victory, and a discus-thrower, Discobolus. The cow seems to have earned its fame largely by serving as a peg on which to hang epigrams, which tells us nothing of the animal’s pose. Of the Ladas, there is no known copy; we are fortunate, however, in possessing several copies of the Discobolus. The athlete is represented at the moment he has swung back the discus with the full stretch of his arm, ready to hurl it with all the weight of his body. His face is calm and untroubled, but every muscle in his body is focused in effort.
Another marble figure, almost certainly a copy of a work of Myron’s, is a Marsyas eager to pick up the flutes Athena had thrown away. The full group is copied on coins of Athens, on a vase and in a relief representing Marsyas as oscillating between curiosity and fear of Athena’s displeasure. His face of the Marsyas is almost a mask; but from the attitude we gain a vivid impression of the passions affecting him.
The ancient critics say of Myron that, while he succeeded admirably in giving life and motion to his figures, he failed in rendering the mind’s emotions. To a certain degree this agrees with the existing evidence, although not perfectly. The bodies of his men are of far greater excellence than the heads.
He was a somewhat older contemporary of Phidias and Polykleitos.
23. Anonymous, Dying Warrior, Corner Figure, East Pediment, Temple of Aphaia, Aegina, c. 500–480 B. C. E. Marble, h: 185 cm. Glyptothek, Munich (Germany).
Greek temples often featured large sculpture decorating the pediment, the triangular space under the eave of the roof. The first examples of pedimental sculpture show that the early artists were not adept at filling the awkward triangular space with a cohesive composition; the figures in the corners were shrunk to a diminutive scale in comparison to the central figures. However, in this pediment group from the end of the Archaic period, the sculptors showed new skill in conceiving the composition. The central figures, not shown, engage in lively battle, lunging and parrying with swords and shields. One archer crouches to take aim, his low position allowing him to fit into the smaller space toward the corner of the pediment. The Dying Warrior next to him fills that corner, the angle of his falling body perfectly fitting into the smallest part of the pediment. A single, cohesive narrative is thereby created across the triangular space, telling the story of a battle fought by local heroes.
24. Anonymous, Heracles Receiving the Golden Apples of the Hesperides from the Hand of Atlas while Minerva Rests a Cushion on his Head, East Metope, Temple of Zeus, Olympia, c. 470–456 B. C. E. Marble, h: 160 cm. Archaeological Museum, Olympia (Greece).
This metope, or square component of the frieze of the temple, is from the Temple of Zeus at Olympia, the largest and most important structure of the first half of the fifth century. Together, the metopes of the Temple of Zeus told the story of the twelve labours of Heracles. Each metope showed one of his labours, or tasks. This metope shows the eleventh labour, the apples of the Hesperides. Heracles was told he had to steal apples belonging to Zeus. He met up with Atlas, who had to hold up the world for all of time. Atlas said he would get the apples for Heracles if Heracles would hold the earth for him. In the scene shown, Atlas has returned with the apples, and Heracles must figure out how to get Atlas to take back the weight of the world. Athena stands behind Heracles, gently helping him hold his burden.
25. Anonymous, Leda and the Swan, copy after a Greek original created by Timotheus, first half of the 5th century B. C. E. Marble, h: 132 cm. Musei Capitolini, Rome (Italy).
26. Anonymous, Aphrodite, type Venus Genitrix, Roman copy after a Greek original created by Callimachus, end of 5th century B. C. E. Marble, h: 164 cm. Musée du Louvre, Paris (France).
CALLIMACHUS
(Active between c. 432 – c. 408 B. C. E.)
An ancient sculptor and engraver, Callimachus was nicknamed “katatxitechnos” – “the perfectionist.” He left behind no writings, but we know his life through the works of Pausanias and Vitruvius, although today certain of their accounts seem doubtful. It is known that he contributed to the decoration of the Erechtheion. For this temple he created, among other things, a magnificent golden lamp, above which was mounted a bronze palm branch, which trapped the smoke. Several beautiful sculptures were also ascribed to him: a group of Lacedemonian dancers and a statue of the seated Hera made for the Heraion of Plataea. What characterises Callimachus more than anything else is his painstaking attention to detail; hence the nickname. Purportedly, he was the first to use a drill for shaping marble. He modelled his work on the tradition of the old masters and pioneered the Archaic style.
Callimachus also has a place in the history of architecture. He is considered the inventor of the Corinthian capital. According to the legend told by Vitruvius, he got the idea while looking at the acanthus blossom wrapped around a basket which had been placed on a child’s tomb.
27. Anonymous, Doryphoros, Roman copy after a Greek original created by Polykleitos, c. 440 B. C. E. Marble, h: 196 cm. The Minneapolis Institute of Arts, Minneapolis (United States).
POLYKLEITOS
(Active during the 5th century B. C. E.)
Polykleitos was a contemporary of Phidias, and in the opinion of the Greeks his equal. He made a figure of an Amazon for Ephesus regarded as superior to the Amazon of Phidias made at the same time; and his colossal Hera of gold and ivory, which stood in the temple near Argos, was considered worthy to rank with the Zeus of Phidias.
It would be hard for a modern critic to rate Polykleitos so high, for reasons of balance, rhythm, and minute perfection of bodily form, the great merits of this sculptor, which appeal less to us than they did to the fifth century Greeks. He worked mainly in bronze.
His artistic activity must thus have been long and prolific.
Copies of his spearman (Doryphoros) and his victor winding a ribbon round his head (Diadoumenos (see nos. 29 & 32)) have long been recognised in galleries. While we understand their excellence, they inspire no enthusiasm; they are fleshier than modern athletic figures and lack charm. They are chiefly valuable for showing us the square forms of body affected by Polykleitos, and the scheme he adopted, for throwing the body’s weight (as Pliny says of him) onto one leg.
The Amazon of Polykleitos survives in several copies. Here again we find a certain heaviness, and the Amazon’s womanly character scarcely appears through her robust limbs.
The masterpiece of Polykleitos, his Hera of gold and ivory, has of course totally disappeared. The Argos coins give us only the general type. Ancient critics reproached Polykleitos for the lack of variety in his works. We have already observed the slight variety in their attitudes. Except for the statue of Hera, which was the work of his old age, he produced hardly any notable statue of a deity. His field was narrowly limited; but in that field he was unsurpassed.
28. Anonymous, The Tyrannicides Harmodius and Aristogeiton, Roman copy