Discobolus

[2] Myron's skill is evident in his ability to convey a sense of movement of the body at the moment of its maximum tension and splendor within a static medium, transforming a routine athletic activity into a representation of balance and harmony.

The athlete's body demonstrates a sense of proportion, with meticulous attention to detail in every muscle and sinew, capturing the dynamics of a thrower's physical actions.

The contrapposto stance, subtly shifting the athlete's weight from one leg to the other, imparts a semblance of motion and adds an element of realism to the artwork.

Myron's work embodies the Greek philosophy of the harmonious development of body and mind, an idea known as kalokagathia, where physical beauty and prowess were celebrated as integral components of a virtuous life.

Myron's Discobolus was long known from descriptions, such as the dialogue in Lucian of Samosata's work Philopseudes: When you came into the hall," he said, "didn't you notice a totally gorgeous statue up there, by Demetrios the portraitist?"

"Surely you don't mean the discus-thrower," said I, "the one bent over into the throwing-position, with his head turned back to the hand that holds the discus, and the opposite knee slightly flexed, like one who will spring up again after the throw?

For one such example, in the early 18th century Pierre-Étienne Monnot restored a torso that is now recognized as an example of Myron's Discobolus as a Wounded Gladiator who supports himself on his arm as he sinks to the ground; the completed sculpture was donated before 1734 by Pope Clement XII to the Capitoline Museums, where it remains.

[6] Yet another copy was discovered in 1906 in the ruins of a Roman villa at Tor Paterno in the former royal estate of Castel Porziano, now also conserved in the Museo Nazionale Romano.