exaggeratedly long, for effect?) and the legs, with the weight of the body balanced
onthe heel of one foot and the ball of the other, imparts godlike energy, dynamism
and purpose. The massive torso, without any contortion or strain in the evenly
balanced musculature, gives the statue a calm assurance and dignified poise. There
is a stylized beauty in the hair with its plaited wreath and hyacinthine fringe, and in
the beard with its regular sweeping curls. The sharp angle of the beard when viewed
in profile is a masterly touch (imagine the figure either unbearded or with the beard
flowing down), accentuating the jutting jawline of the god, pointing towards the
target, and intensifying the sense of purpose and power which the sculptor has
imparted to the bronze.
Equally assured is the discoboulos (discus-thrower) of Myron (c.460–450).Unlike
the Apollo or the Poseidon, this is not known in the original but through several
Roman copies, for the poise and balance of its dynamic pose were celebrated in the
ancient world. With the discoboulos, sculpture is fully liberated from the restrictions
ofarchaic forms. The original was in bronze, a more flexible medium, and did not
need the support of the tree trunk provided for the heavier marble copy (fig. 51). The
figure is harmoniously proportioned and represents the ideal male athlete in a
moment of arrested motion. So ideal is it, that it is disputed whether the body can
actually attain the poise of this pose. Despite the crease at the waist, the muscles of
the torso are not responsive to the movement of the arms: there is no sign of muscular
strain. The general balance is achieved by answering curves. The delicate positioning
ofthe head, the lower hand and the rear foot contribute greatly to the final poise.
232 THE GREEKS
FIGURES 49 AND 50
God of Artemisium
Source:National Archaeological Museum,
Athens © Hellenic Ministry of culture/
ArchaeologicalReceipts Fund