Myron

According to Natural History, a Latin encyclopedia by Pliny the Elder (AD 23 – 79), a scholar in Ancient Rome, Ageladas of Argos was his teacher.

Myron worked almost exclusively in bronze[4] and his fame rested principally upon his representations of athletes (including his iconic Diskobolos), in which he made a revolution, according to commentators in Antiquity, by introducing greater boldness of pose and a more perfect rhythm, subordinating the parts to the whole.

), a Perseus, a satyr (Marsyas) admiring the flute and Minerva (Athena), a Hercules, which was taken to the shrine dedicated by Pompey the Great at the Circus Maximus, Discobolus (the discus thrower), and an Apollo for Ephesus, "which Antony the triumvir took from the Ephesians, but the deified Augustus restored it again after being warned in a dream".

[7] The Early Imperial Roman writers consistently rated Myron among the greatest of Greek sculptors, a sign that his contemporaneous reputation had remained high.

A description by Lucian[11] 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.

[12] 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.

[13] 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.