66 GENERAL CHARACTERISTICS OF VICTOR STATUES AT OLYMPIA. 
a statue or group of figures.!. Rhythm, following Vitruvius,? is that 
tertium quid which is indispensable to true art. Analogy (Latin pro- 
portio)* refers to the measured ratio of part to part in any given work 
of art, whether in architecture, painting, or sculpture. Most scholars 
nowadays interpret symmetry and analogy as the same thing. Pliny’ 
says that symmetria has no Latin equivalent, and in several passages” 
keeps the Greek word, as does Vitruvius. Here Otto Jahn rightly 
says proportio or commensus would have adequately translated it.$ 
P. Gardner explains the word properly as “‘the proportion of one part 
of the body as measured against another.’’? Brunn held that, assym- 
metry was the relation of part to part in a statue at rest, rhythm ex- 
pressed this relationship in one represented in motion.® ‘The simplest 
illustration of rhythm is seen in walking: when the right foot is advanced 
the left arm swings out in rhythm, and so the balance of the body is 
kept. Rhythm, therefore, has to do with balance in motion, and may 
refer equally to cadence in poetry and music and to movement in 
sculpture. An excellent example in sculpture is afforded by Myron’s 
Diskobolos (Pls. 21, 22, and Figs. 34, 35), while the balancing of figures 
on many Greek reliefs—especially on Attic funerary stela—aillustrates 
symmetry (cf. Fig. 75). Pliny characterizes certain artists by their 
success in effecting symmetry and rhythm. Thus Myron surpassed 
Polykleitos in being more rhythmic and in paying more attention 
to symmetry.’ He says that Lysippos most diligently preserved 
symmetry by bringing unthought-of innovations into the square canon 
1Plato, Phileb., 64 E, regarded perprdrns and ovpyerpia as qualities of beauty and virtue; 
cf. Aristotle, Metaphys., X, 3.7, and Nicom. Eth., V, 5.14, 1133b. Vitruvius, de Arch., I, 2, makes 
symmetry in architecture a quality of eurythmia: Item symmetria est ex ipsius operis membris 
conveniens consensus ex partibusque separatis ad universae figurae speciem ratae partis responsus. 
°J, 2: Haec [eurythmia] efficitur, cum membra operis convenientia sunt, altitudinis ad latitu- 
dinem, latitudinis ad longitudinem, et ad summam omnia respondent suae symmetriae; cf. III, 1; 
Lucian, pro Imag., 14 (JvOuifew 7d &yadua); Clem. Alex., Paedagog., 3.11 and 64 (etpvOuds xal 
kaos avdpras); Xen., Mem., III, 10.9 (svOyués, of corselets); Plut., de Educ. puer., 11 (trav cwparwr 
etpv0uia); Diod., I, 97. 6 (pvOu6s dvb p/ dvTwr, 1. e., rhythmic order or grace in statuary): 7d., II, 56 .4. 
8Vitruv., III, 1: <proportio>, quae graece dvadoyia dicitur. Proportio est ratae partis mem- 
brorum in omni opere totiusque commodulatio, ex qua ratio efficitur symmetriarum. 
AIT Ng WO Leo o! SOD. Ik, Civ MeN, OF and 126: 
®Ueber die Kunsturteile bei Plinius, Ber. ueber d. Verhandl. d. k. saechs. Ges. d. Wiss. xu Leipzig, I, 
1850, p. 131; cf. H. L. Urlichs, Ueber griech. Kunstschriftsteller (Diss. inaug., Wuerzburg, 1887). 
"Principles of Greek Art, 1914, p. 20 (=Grammar of Greek Art, 1905, p. 22). 
SQuoted by Gardner, of. cit., p. 22 (=Grammar, p. 23), from two papers by H. Brunn, Ueber 
tektonischen Styl in der griech. Plastik und Malerei, in Sitzb. Muen. Akad., 1883, pp. 299 f., 1884, 
pp. 507 f. Overbeck, I, pp. 266-277, explains rhythm in art as the Ordnung der Bewegung, in 
accordance with the definition of Plato: 79 59 rfjs kuhoews TaEEr puuds dvoua ely: de Leg., 665 A. 
°H. N., XXXIV, 58 (S. Q., 533): Numerosior in arte quam Polyclitus et in symmetria dili- 
gentior. ‘The interpretation of this disputed passage depends, of course, on the meaning of 
numerosior, and whether we accept the curious statement of the manuscript that Myron sur- 
passed Poykleitos in symmetry, or, by omitting the et (with Sillig), make it mean just the contrary 
and in harmony with the usual ancient view that symmetry was the salient characteristic of 
Polykleitan art. The passage, then, would contrast the symmetry of Polykleitos with the 
variety of Myron. This accords with Pliny’s use of numerosus elsewhere (e. g., XXXV, 130 
and 138), which always refers to number. See Gardner, Hdzh., p. 275 (note). 
