Editing Myron (section)

==Attributions==
An epigram<ref>In the [[Greek Anthology]].</ref> on Ladas, the fleetest runner of his time, notes that he was commemorated in a sculpture by Myron; of Myron's ''Ladas'' there is no known copy. A description by [[Lucian]]<ref>Lucian of Samosata, ''[[Philopseudes]]'' 18.</ref> conclusively identifies as Myron's the ''[[Discobolus]]'' or "Discus-Thrower", of which several copies exist, of which the best is in the [[Palazzo Massimi alle Terme]], Rome. [[Strabo]] also registers stray comments on Myron, especially a large group at [[Samos]]; several surviving heads were identified as copies of Myron's ''Samian Athena'' by C.K. Jenkins in 1926.<ref>C.K. Jenkins, "The Reinstatement of Myron" ''The Burlington Magazine for Connoisseurs'' '''49''' No. 283 (October 1926), pp. 182–192.</ref>

A marble figure in the [[Lateran Museum]], which is now restored as a dancing [[satyr]], is almost certainly a copy of a work of Myron, a [[Marsyas]] desirous of picking up the [[aulos]] which [[Athena]] had thrown away.<ref>[[Pausanias (geographer)|Pausanias]], 1.24.1; H. Anne Weis, "The 'Marsyas' of Myron: Old Problems and New Evidence" ''American Journal of Archaeology'' '''83'''.2 (April 1979), pp. 214–219, distinguishes two versions.</ref> The full group is copied on coins of Athens, on a vase and in a relief which represent Marsyas as oscillating between curiosity and the fear of the displeasure of Athena. The ancient critics say of Myron that while he succeeded admirably in giving life and motion to his figures, he did not succeed in rendering the emotions of the mind. This agrees with the extant evidence, in a certain degree, though not perfectly. The bodies of his men are of far greater excellence than the heads. The face of the Marsyas is almost a mask; but from the attitude we gain a vivid impression of the passions which sway him. The face of the discus-thrower is calm and unruffled; but all the muscles of his body are concentrated in an effort.

A considerable number of other extant works were ascribed to the school or the influence of Myron by [[Adolf Furtwängler]].<ref>A. Furtwängler, ''Masterpieces of Greek Sculpture'', (London) 1907, 168&mdash;2 19</ref> These attributions have not stood up to the test of time. A [[papyrus]] from [[Oxyrhyncus]] gives dates of [[Ancient Olympic Games|victors at Olympia]] of whom Myron made statues of the athlete [[Timanthes of Cleonae|Timanthes]], victorious at Olympia in 456 BC, and of Lycinus, victorious in 448 BC and 444 BC. This helps us to fix his date. He was a contemporary, but a somewhat older contemporary, of [[Pheidias]] and [[Polykleitos]].<ref>Bernard Pyne Grenfell and Arthur Surridge Hunt, ''The Oxyrhynchus Papyri'' 1899, p 86f.</ref>