_Lancelotti Palace, Rome_]
Our statue shows the disk-thrower at the moment immediately preceding
the throw. As described by the ancient writer Lucian, "he is bent down
into the position for the throw, turning towards the hand that holds the
disk, and all but bending on one knee, he seems as if he would
straighten himself up at the throw."
The modern critic whom we have already quoted shows that when we view
the statue from the front, "all the lines of the modelling indicate the
tension of the sinews towards the contracted centre of the body, and the
legs, neck, and shoulders tend towards the same point." When we walk
around the statue, all the lines in the back and sides "seem to lead
towards that central point like the spiral contraction of a spring." It
is by thus suggesting the concentration of energy on the part of the
Discobolus that the figure appears so full of life and action.
By the choice of this posture the artist was enabled to model his figure
on magnificent sculpturesque lines. One long fine curve sweeps along the
right arm, is continued down the left arm, and is carried to completion
in the left leg and foot. The counter curve starts under the right
shoulder, and sweeps down the right side and leg.
The original statue of the Discobolus was executed in bronze, and our
reproduction is from one of several ancient copies in marble. In some of
these the original head of the statue has been replaced by another, but
the copy we see here has a fine, vigorous head. The English critic,
Walter Pater,[28] describes the face "as smooth but spare, and tightly
drawn over muscle and bone." He shows too how sympathetic the face is
with the whole intention of the statue, "as the source of will."[29]
[28] In the chapter on Athletic Prizemen, in _Greek Studies_.
[29] This opinion is the more interesting because the face of the
Discobolus is commonly criticised for "absence of emotional expression."
See Furtw[:a]ngler's _Masterpieces of Greek Sculpture_, p. 173.
The sculptor of the Discobolus was Myron, who lived in the period
between the Persian War and the middle of the fifth century. His work
shows his fondness for movement, though many of his subjects did not
permit him to indulge his taste. He made a specialty of figures of
athletes, both commemorative portrait statues and typical figures. We do
not know whether this statue represents an actual Olympic victor, or is
a typical figure, like the Apoxyomenos. In any case it gives an
excellent idea of the great influence exercised upon Greek life by the
athletic games.