PYTHAGORAS AND MYRON. 183 
in the attitude of rest, as we learn from the footprints on its recovered 
base.' Pliny also says that Pythagoras surpassed with his Delphian 
pancratiast his own statue of Leontiskos,”? a statement which similarly 
appears to mark the latter as a statue in motion. Reisch assumes 
that the statue of Euthymos was in motion, since Pausanias says it 
was an avoptas Béas és Ta wadtora dévos.* On the whole, then, we may 
assume that Pythagoras was a sculptor who represented many of his 
victors in the attitude of motion. 
Love of movement also characterized the artistic temperament of 
Myron, even though we know that he represented gods, heroes, and even 
athletes, at rest. “hus coins show that Athena in his Marsyas group 
was represented as standing in a tranquil pose.‘ Similarly the Ric- 
cardi bust in Florence, already discussed, which may be Myronian, 
comes from a statue of a hero shown in an attitude of rest. Myron was 
the first Greek sculptor to make his statues and groups self-sufficient,” 
that is, he gave to them a concentration which does not allow the 
spectator’s attention to wander. We readily see this new principle 
in art when we compare the Diskobolos and the group of the T'yran- 
nicides. Inthe latterour attention is not concentrated, for a third figure, 
that of the tyrant on whom the onset is being made, is required in imagi- 
nation tocomplete the group. We have no originals from Myron’shand, 
but we are in far better case in regard to his work than in regard to that 
of Pythagoras, since we have unmistakable copies of two of his great- 
est works, the Marsyas and the Diskobolos. In them there is little 
trace of the archaic stiffness that is still visible in the Tyrannicides. 
Both of these works are represented in violent action, and in both there 
is complete concentration. While the Diskobolos represents a trained 
palestra athlete executing a graceful movement, the Marsyas rep- 
resents a wild Satyr of the woods, wholly untrained and controlled by 
savage passions, in the moment of fear. In the Diskobolos the face is 
1Inschr.v. Ol., 146; Kallias won Ol. 77(=472 B.C.) : Oxy. Pap.; P., VI, 6.1; Hyde, 50; Foerster, 208. 
2In the Plinian passage Leontiskos figures rather as an artist, probably through Pliny’s mis- 
understanding of some Greek sentence in his authority; see L. von Urlichs, Rheinisches Museum, 
XLIV, 1889, p. 261. '  8P, 44, 
4L. von Sybel, Athena und Marsyas, Bronzemuenze des Berliner Museums, 1879. 
’This characteristic is expressed by the word airapxe.a; cf. Plato, Phil., 67 A; Aristotle, Eth. 
Nicom., 1,.7.5-6 (=1097 b); etc. 
6Marble copy of the Marsyas was found in 1823 on the Esquiline and is now in the Lateran 
Museum, Rome: Helbig, Fuehrer, II, 1179; Rayet, I, Pl. 33; B. B., 208; Bulle, 95; von Mach, 65a; 
Baum., IJ, p. 1002, fig. 1210; Collignon, I, pp. 467 f. and fig. 234; F. W., 454; Reinach, Rép., II, 1, 
15,6. Itis 1.95 meters high (Bulle). Itis wrongly restored and only the head can be considered 
approximately faithful to the original. Cf. another copy of the head of Parian marble in the Museo 
Barracco, Rome: Helbig, I, 1104; Reinach, Tétes, pp. 53 f. and Pls. LXVI-LXVII; F. W., 455. 
A fourth-century B. C. bronze statuette from Patras, now in the British Museum, appears also 
to give the motive of the original group in Athens mentioned by Pliny, H. N., XXXIV, 57, and 
P., 1, 24.1: B. M. Bronzes, 269; Gaz. Arch., 1879, Pls. XX XIV-V and pp. 241 f.; 4. Z., XX XVII, 
1879, Pl. VIII (two views), pp. 91 f.; Rayet, I, Pl. 34; von Mach, 656; Reinach Rép., II, 1, 51, 
nos. 5 and 7. It is 0.75 meter high. For other representations, see G. Hirschfeld, Athena und 
Marsyas, 32stes Berl. Winckelmannsprogr., 1872, Pls. 1 and II. Fora copy of the head of Athena 
in Dresden, see B. B., 591 (three views). 
