184 VICTOR. STATUES ‘REPRESENTED’ IN’ MOTION, 
impassive, being little affected by the violent movement of the body— 
a contrast only partly to be explained as due to the copyist; in the 
Marsyas, on the contrary, there 1s complete harmony between the 
facial expression and the violent action of the body. 
Since we are chiefly dependent for our knowledge of Myron’s athletic 
work on the marble copies of the Diskobolos, which represents a new era 
in athletic art, and since this statue is perhaps the most famous athletic 
statue of all times, it will be well to speak of it here at some length. 
It is not, so. far as we know, the statue of any particular victor, but 
rather a study in athletic sculpture. Of this work there are twelve full- 
size replicas and several statuettes. We shall discuss only those which 
give us the best idea of the lost original. ‘The most faithful copy is the 
superb marble statue in the Palazzo Lancellotti, Rome, discovered on 
the Esquiline in 1781 (head seen in PI. 23).2, As the head has never been 
broken away from the body, this copy preserves the original pose, 
whereas all other copies have the head turned in the wrong direction.® 
The head and face preserve Attic proportions and the treatment of the 
hair and muscles differs from that of the other copies, which disclose 
later elements. ‘The hair, in particular, shows signs of archaism, just 
as it must have been treated in the original, as evinced by Pliny’s 
criticism.‘ .The most carefully worked copy, however, is the Parian 
marble torso, which was found in 1906 at Castel Porziano, the site of 
the ancient Laurentum, and is now in the Museo delle Terme, Rome 
(Pl. 22).° This torso was already restored in antiquity. Since the 
villain which it was found was built in Augustus’ day and was restored 
in the second century A.D., we have the approximate dates both of the 
origin and restoration of the statue. A weak copy, discovered in livoli 
in 1791, is in the Sala della Biga of the Vatican; the head, left arm, and 
right leg below the knee have been restored, the head wrongly (Fig. 
34). A Greco-Roman copy discovered also in 1791, in Hadrian’s 



1Walter Pater, in his Greek Studies (in the essay on The Age of Athletic Prizemen), ed. 1895, 
pp. 309 f., calls the Diskobolos a-work of genre. However, the Diskobolos can hardly be called a 
decorative statue, 7. ¢., “‘a work merely imitative of the detail of actual life.’ On p. 313 he 
rightly classes the Doryphoros as an “‘academic’’ work. 
*It was formerly in the Palazzo Massimi alla Colonna, and hence 1s often called the Massimi 
Diskobolos: B. B., no. 567, cf. 256 (head from cast); von Mach, 63; Collignon, I, Pl. XI, opp. 
p. 472; H. B. Walters, The Art of the Greeks, 1906, Pl. XXX; Gardner, Sculpt., Pl. XIII (head from 
cast); Overbeck, I, fig. 74, opp. p. 274; Reinach, Rép., I, 527, 1; for description, see M. D., 1098. 
’Furtwaengler, W/p., pp. 168 f., Mw., pp. 341 f., lists three other copies of the head: one in Basel 
(cf. Kalkmann, Proport. des. Gesichts., 53stes Berl: Winckelmannsprogr., 1893, pp. 73-74); one at 
Catajo(Mp., fig. 68; Mw., fig. 43; Arndt-Amelung, nos. 54-55); and one in Berlin (/?., fig. 69). 
4H. N., XXXIV, 58: (Myron) videtur..... capillum quoque et pubem non emendatius fecisse 
quam rudis antiquitas instituisset. ; 
’B. B., nos. 631, 632 (restored from bronzed cast; text by Rizzo); Bulle, 98; Helbig, Fuehrer, I, 
1363; Boll. d’ Arte, 1, 1907, pp. 1 f. and Pls. I-III; cf. Zeitschr. fuer bild. Kunst, 1907, pp. 185 f. 
It is pieced together from fourteen fragments; the fragment of the right lower leg was found in 
1910. Height to right shoulder, 1.53 meters (Bulle), ; 
‘Helbig, Fuchrer, I, 326; Guide, 333; von Mach, 62; Collignon, I, p. 473, n.1; F. W., 451; 
Reinach, Rép., IT, 2, 545, 5. 
