Identifier: sixgreeksculptor00gard (find matches)
Title: Six Greek sculptors
Year: 1915 (1910s)
Authors: Gardner, Ernest Arthur, 1862-1939
Subjects: Sculptors Sculpture, Greek
Publisher: London : Duckworth and Co. New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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t the motive ofthe figure of Marsyas is evident enough. In some waysit offers a counterpart to the Discobolus, since it repre-sents the moment of rest immediately succeeding violentmotion; but in the Discobolus this moment is thepreparation for still more vigorous action to succeed,while in the Marsyas there is no succeeding actionimplied. In this respect the subject is less con-spicuously fitting for sculpture; but we must remarkthat the Marsyas is part of a group, and was notintended to be complete in itself.1 No copy of the Marsyas is to be compared in qualitywith the Lancelotti Discobolus. The Lateran statue,however, shows a good deal that is characteristic ofMyron, especially in the dry, sinewy forms of the bodyand the clearly outlined muscles. The mask-like,satyric face also resembles that of the Discobolus in theabsence of any attempt to represent an excitement oremotion corresponding to the violence of the action.1 The Athena has perhaps been identified ; see p. 72, PI.ATE XIV
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MARSYAS, AFTER MYRON ; BRONZE STATUETTE IN THE BRITISH MUSEUM To face p. 67 MYRON 67 The deep furrows on his brow and on his cheeksmay seem at first sight to contradict this statement.But they belong to the physical type of the satyr,with its half-bestial character, rather than to anymomentary expression. It is true that there is moreexpression in the head from the Barracco collection,identified by M. Collignon * as an ancient copy of theMarsyas; but even if this identification be accepted,the copy need bear no nearer relation to the originalby Myron than does the well-known bronze statuette inthe British Museum, which is merely a Hellenisticvariation on the subject devised by Myron, but hasnothing Myronic either in its composition or in itsexecution. We have seen in the case of the Discobolusalso how the face is modified in ancient copies to suitthe taste of a later age. Literary evidence about a sculptor is, as a rule, oflittle practical use, except so far as it can be broughtinto r

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