File:Six Greek sculptors (1915) (14596930720).jpg

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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nception of the hero who, in hismoments of rest, is oppressed by the consciousness ofhis labours. Both alike are phases of the psychologyof the athlete, and thus peculiarly suited to Myronspredilections. But, after all, it is the Discobolus and the Marsyason which we chiefly depend for our knowledge ofMyron ; and with their help we can associate with hima certain number of extant works in our museums;though it is not likely that any of them are originalsfrom his hand, some of them may be attributed to hispupils, and others may be copied more or less directlyfrom his works. The first place where one naturallylooks for his influence is in the great mass of architec-tural sculptures that was made in Athens during thegeneration next following his own, by the set of artistsamong whom his son was working. The pediments andthe frieze of the Parthenon are so dominated by thepersonality of one great master—who can be no otherthan Phidias himself—that it is not easy to distinguish Plate XVI
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METOPE OF THE PARTHENON; LAPITH AXD CENTAUR To face p. 75 MYRON 75 different hands or variations of style in their execution.But with the metopes it is otherwise. Some of theseshow an angularity and some an awkwardness of pose,and a hard and dry rendering of the muscles that isdistinctly archaic, and that recalls the defects andmannerisms, though not the excellence, of Myronswork. Such mannerisms are just what a pupil orimitator might copy, while he missed the higher qualitiesof his masters attainments; but at the same time itmust be admitted that the peculiarities that we havenoticed may have belonged to Myrons age rather thanto himself. Even if this were the case, however, it wasprobably his reputation that served to perpetuate andto transmit them. Besides these, the least successful ofthe Parthenon metopes, there is another set, inter-mediate in character between them and the mostadvanced in style, which last we may attribute to theinfluence of Phidias himself. This intermediate se

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