The
upper part of the body is very powerful, the shoulders broad and
held well back, the chest prominently developed. The face, in
spite of its injuries, is one of singular refinement and
sweetness. The long hair is arranged in two braids, as in Fig. 96,
the only difference being that here the braids pass over instead
of under the fringe of front hair. The rendering of the hair is in
a freer style than in the case just cited, but of this difference
a part may be chargeable to the copyist. Altogether we see here
the stamp of an artistic manner very different from that of
Critius and Nesiotes. Possibly, as some have conjectured, it is
the manner of Calamis, an Attic sculptor of this period, whose
eminence at any rate entitles him to a passing mention. But even
the Attic origin of this statue is in dispute.
We now reach a name of commanding importance, and one with which
we are fortunately able to associate some definite ideas. It is
the name of Myron of Athens, who ranks among the six most
illustrious sculptors of Greece.
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